THE YALE 
SHAKESPEARE 



AS YOU 
LIKE IT 



Edited by 

Jack R. Crawford 



Yale University 
Press 




Class L__ 

Boot A 



COKRIGHT DEPOSIT. 



THE YALE SHAKESPEARE 



Edited by 
Wilbur L. Cross Tucker Brooke 

WlLLARD HlGLEY DURHAM 



Published under the Direction 

OF THE 

Department of English, Yale University, 

on the Fund 

Given to the Yale University Press in 1917 

by the Members of the 

Kingsley Trust Association 

To Commemorate the Seventy-Fifth Anniversary 

of the Founding of the Society 






The Yale Shakespeare 



AS YOU LIKE IT 

EDITED BY 

JACK R. CRAWFORD 




.*s 



NEW HAVEN • YALE UNIVERSITY PRESS 

LONDON • HUMPHREY MILFORD 
OXFORD UNIVERSITY PRESS • MCMXIX 



4<$ 



Copyright, 1919 
By Yale University Press 



First published, October, 1919. 



.A550507 



•*v*-t> 



TABLE OF CONTENTS 

PAGE 

The Text 1 

Notes . . . . . . 106 

Appendix A. Sources of the Play . . 123 

Appendix B. The History of the Play . 128 

Appendix C. The Text . . . . 135 

Appendix D. Suggestions for Collateral 

Reading . . . 136 

Index of Words Glossed . . . . 137 



The facsimile opposite shows the cast which performed 
Johnson's adaptation of 'As You Like It' in 1723, and sug- 
gests the nature of the alterations made by Johnson. (See 
Appendix B for further details.) The title-page mentions 
neither Shakespeare's name nor that which he gave the 
comedy. It runs as follows: 'Love in a Forest. A Comedy. 
As it is Acted at the Theatre Royal in Drury-Lane, By His 
Majesty's Servants . . . By Mr. Johnson . . . 1723.' 

The Prologue, spoken by Wilks, closes with the following 
lines : 

'Now, — As you like it, judge the following Play, 

And when you view this Work retriev'd to Day; 

Forgive our modern Author's Honest Zeal, 

He hath attempted boldly, if not- well: 

Believe, he only does with Pain, and Care, 

Presume to weed the beautiful Parterre. 

His whole Ambition does, at most, aspire 

To tune the sacred Bard's immortal Lyre; 

The Sceme from Time and Error to restore, 

And give the Stage, from Shakespear one Play more.' 



Drdmatk Perfena. 

M E N. 

Treimck, the ufurping Duke, — - Mx.VWmh^U. 
Alberto? the banifh'd Duke, 1 Mr. Booth. 

*01iver, 7 2 Mr. Thwinon&» 

Qrlapio, > three Brothers, — — « ? Mr. Wilks. 
Roberto, j J Mr. Roberts^ 

Adam, an old Servant to Orlando, Mr. M?fc» ^ 

£*e Ben, — — .. — - — — Mr.Theo.Cibber*' 

CbtrlesX M " & Z^cmr ^^ I M ^ * MUlu 

WOMEN. 

Rofalind, *— — ■ Mrs. Booth 

C&lia, -~ — • .— • — — Mrs. Thurmond* 

Hymen, ■ .——-——— — — Mils 'hinder. 

In the Mock- Play. 

Vyt firms, — »•■ ■■ , '■ . ■■■ • Mr. Penhthman. 

Tbisby^ f— — — t — - '" ■ - Mrs, Miller. 

Wall, : • — — .Mr. Norr}s. 

Lioit, -* —_ - _ — — i 5Jr. Wilfon. 

Moon/bine; * — s — - — r— > Mr. .Ray. 

Lords, Forejlers, Gentlemen, Guards, Singers and 

Dancers. 

SCENE, Liege, and the Forejl of Arden. 



[DRAMATIS PERSONS 

Duke Senior, living in exile 

Frederick, brother to Duke Senior, and usurper of 

his dukedom 
Amiens, ) Lords attending upon Duke Senior in his 
Jaques, ) banishment 

Le Beau, a courtier attending on Frederick 
Oliver, eldest son to Sir Rowland de Boys, who had 

formerly been a servant of Duke Senior 

j» >-v ' [■ younger brothers to Oliver 

//Orlando, \ * ■ * , 

^/ MAdam, an old servant of Sir Rowland de Boys, now 

following the fortunes of Orlando 

Dennis, servant to Oliver 

Charles, a wrestler, and servant to the usurping 
Duke Frederick 

Touchstone, a clown attending on Celia and Rosa- 
lind 

c ' .. [ Shepherds 

OILVIUS, ) r 

William, a clown in love with Audrey 

/Sir Oliver Mar-text, a country curate 
A boy impersonating Hymen 
y^ Rosalind, daughter to Duke Senior 
Celia, daughter to Frederick 
Phebe, a shepherdess 
Audrey, a country wench 

Lords belonging to the two Dukes, with Pages, For- 
esters, and other Attendants 

The scene lies first near Oliver's house, and after- 
wards partly in the Duke Frederick's court, and 
partly in the Forest of Arden.~\ 

D. P. First given by Rowe, ed. 1709 



As You Like It 
ACT FIRST 

Scene One 
[A?i Orchard near Oliver's House] 

Enter Orlando and Adam. 

hi. As I remember, Adam, it was upon this 
fashion bequeathed me by will but poor a thou- 
sand crowns, and, as thou sayest, charged my 
brother on his blessing, to breed me well: and 
there begins my sadness. My brother Jaques 
he keeps at school, and report speaks goldenly 
of his profit: for my part, he keeps me rustically 
at home, Or, to speak more properly, stays me 8 
here at home unkept; for call you that keeping 
for a gentleman of my birth, that differs not from 
the stalling of an ox? His horses are bred better; 
for, besides that they are fair with their feeding, 
they are taught their manage, and to that end 
riders dearly hired: but I, his brother, gain 
nothing under him but growth, for the which 
his animals on his dunghills are as much bound 16 
to him as I. Besides this nothing that he so 
plentifully gives me, the something that nature 
gave me his countenance seems to take from 

2 Cf. n. poor a: i.e., a beggarly 

5 Jaques; cf. n. 6 at school: at college 

7 rustically: i.e., without opportunity to see the world 

8 stays: detains 

13 manage: action and paces to which a horse is trained. Cf. 
French manege 19 countenance: favor, patronage 



As You Like It,, I, i 



me: he lets me feed with his hinds, bars me the 
place of a brother, and, as much as in him lies, 
mines my gentility with my education. This is 
it, Adam, that grieves me; and the spirit of my 
father, which I think is within me, begins to 
mutiny against this servitude. I will no longer 
endure it, though yet I know no wise remedy 
how to avoid it. 27 

Enter Oliver. 

Adam. Yonder comes my master, your brother. 

Orl. Go apart, Adam, and thou shalt hear 
how he will shake me up. 

Oli. Now, sir! what make you here? 31 

Orl. Nothing: I am not taught to make any- 
thing. 

Oli. What mar you then, sir? 

Orl. Marry, sir, I am helping you to mar that 
which God made, a poor unworthy brother of 
yours, with idleness. 37 

Oli. Marry, sir, be better employed, and be 
naught awhile. 

Orl. Shall I keep your hogs, and eat husks 
with them? What prodigal portion have I 
spent, that I should come to such penury? 42 

Oli. Know you where you are, sir? 

Orl. O! sir, very well: here in your orchard. 

Oli. Know you before whom, sir? 45 

Orl. Ay, better than him I am before knows 
me. I know you are my eldest brother; and, in 
the gentle condition of blood, you should so 

20 hinds: servants 22 mines: undermines 

27 S. d. ; cf. n. 31 make you: are you doing 

35 Marry: an oath derived from the name of Saint Mary 
38 be naught: efface yourself, withdraw 41 prodigal portion; cf. n. 

48 gentle condition of blood: kind disposition caused by relationship 



As You Like It, I, i 



know me. The courtesy of nations allows you 
my better, in that you are the first-born ; but 50 
the same tradition takes not away my blood, 
were there twenty brothers betwixt us. I have 
as much of my father in me as you; albeit, I 
confess, your coming before me is nearer to his 
reverence. 
' Oli. What, boy ! 56 

Orl. Come, come, elder brother, you are too 
young in this. 

Oli. Wilt thou lay hands on me, villain? 59 

Orl. I am no villain; I am the youngest son 
of Sir Rowland de Boys; he was my father, and 
he is thrice a villain that says such a father 
begot villains. Wert thou not my brother, I 
would not take this hand from thy throat till 
this other had pulled out thy tongue for saying 
so: thou hast railed on thyself. 66 

Adam. [Coming forward. ] Sweet masters, be 
patient: for your father's remembrance, be at 
accord. 

Oli. Let me go, I say. 70 

Orl. I will not, till I please: you shall hear 
me. My father charged you in his will to give 
me good education: you have trained me like 
a peasant, obscuring and hiding from me all 
gentleman-like qualities. The spirit of my father 
grows strong in me, and I will no longer endure 
it; therefore allow me such exercises as may be- 
come a gentleman, or give me the poor allottery 

49 courtesy of nations: usage of civilised nations 

55 reverence; cf. n. 

58 young: inexperienced, i.e., in manly prowess 

60 villain : serf, servant. {In 59 the word has its modern meaning) 

78 allottery: share, portion 



As You Like It, I. i 



my father left me by testament ; with that I will 
go buy my fortunes. 80 

OIL And what wilt thou do? beg, when that 
is spent ? Well, sir, get you in : I will not long be 
troubled with you; you shall have some part of 
your will: I pray you, leave me. 84 

Orl. I will no further offend you than becomes 
me for my good. 

Oli. Get you with him, you old dog. 

Adam. Is 'old dog' my reward? Most true, 
I have lost my teeth in your service. God be 
with my old master! he would not have spoke 
such a word. Exeunt Orlando and Adam. 

Oli. Is it even so? begin you to grow upon 
me? I will physic your rankness, and yet give 
no thousand crowns neither. Holla, Dennis ! 

Enter Dennis. 

Den. Calls your worship? 95 

Oli. Was not Charles the duke's wrestler here 
to speak with me? 

Den. So please you, he is here at the door, 
and importunes access to you. 

Oli. Call him in. [Exit Dennis.'] 'Twill be 
a good way ; and to-morrow the wrestling is. 

Enter Charles. 

Cha. Good morrow to your worship. 102 

Oli. Good Monsieur Charles, what's the new 
news at the new court? 

Cha. There's no news at the court, sir, but 
the old news: that is, the old duke is banished 
by his younger brother the new duke; and three 
or four loving lords have put themselves into 

92 grow: encroach 93 rankness: insolence 



As You Like It, I, i 



voluntary exile with him, whose lands and re- 
venues enrich the new duke; therefore he gives 
them good leave to wander. ill 

OIL Can you tell if Rosalind, the duke's 
daughter, be banished with her father? 

Cha. O, no; for the duke's daughter, her 
cousin, so loves her, — being ever from their 
cradles bred together, — that she would have 
followed her exile, or have died to stay behind 
her. She is at the court, and no less beloved of 
her uncle than his own daughter; and never two 
ladies loved as they do. 120 

OIL Where will the old duke live? 

Cha. They say he is already in the forest of 
Arden, and a .many merry men with him; and 
there they live like the old Robin Hood of 
England. They say many young gentlemen flock 
to him every day, and fleet the time carelessly, 
as they did in the golden world. 

OIL What, you wrestle to-morrow before the 
new duke? 129 

Cha. Marry, do I, sir; and I came to acquaint 
you with a matter. I am given, sir, secretly to 
understand that your younger brother Orlando 
hath a disposition to come in disguised against 
me to try a fall. To-morrow, sir, I wrestle for 
my credit, and he that escapes me without some 
broken limb shall acquit him well. Your brother 136 
is but young and tender; and, for your love, I 
would be loath to foil him as I must, for my 
own honour, if he come in: therefore, out of 
my love to you, I came hither to acquaint you 

112 duke's daughter; cf. n. 122 forest of Arden; cf. n. 

126 fleet: pass 127 golden world; cf. n. 

138 foil: throw in wrestling 



As You Like It, Z. i 



withal, that either you might stay him from his 
intendment, or brook such disgrace well as he 
shall run into, in that it is a thing of his own 
search and altogether against my will. 144 

OIL Charles, I thank thee for thy love to me, 
which thou shalt find I will most kindly requite. 
I had myself notice of my brother's purpose 
herein, and have by underhand means laboured 
to dissuade him from it, but he is resolute. I'll 
tell thee, Charles, it is the stubbornest young 150 
fellow of France; full of ambition, an envious 
emulator of every man's good parts, a secret 
and villainous contriver against me his natural 
brother: therefore use thy discretion. I had as 
lief thou didst break his neck as his finger. And 
thou wert best look to't; for if thou dost him 
any slight disgrace, or if he do not mightily 
grace himself on thee, he will practise against 158 
thee by poison, entrap thee by some treacherous 
device, and never leave thee till he hath ta'en 
thy life by some indirect means or other; for, 
I assure thee, — and almost with tears I speak 
it, — there is not one so young and so villainous 
this day living. I speak but brotherly of him; 
but should I anatomize him to thee as he is, I 
must blush and weep, and thou must look pale 
and wonder. 167 

Cha. I am heartily glad I came hither to you. 
If he come to-morrow, I'll give him his payment: 

141 withal: therewith 

142 intendment: purpose brook . . . well: endure 
148 underhand: indirect 

153 natural brother: blood brother 

156 look to 't: take care 

158 grace himself: do honor to practise: scheme 

165 anatomize: analyse, expose 



As You Like It, I. ii 



if ever he go alone again, I'll never wrestle for 
prize more; and so God keep your worship! 171 

Exit. 
OIL Farewell, good Charles. Now will I stir 
this gamester. I hope I shall see an end of him; 
for my soul, yet I know not why, hates nothing 
more than he. Yet he's gentle, never schooled 
and yet learned, full of noble device, of all sorts 
enchantingly beloved, and, indeed so much in 177 
the heart of the world, and especially of my own 
people, who best know him, that I am altogether 
misprised. But it shall not be so long; this 
wrestler shall clear all: nothing remains but that 
I kindle the boy thither, which now I'll go about. 

Exit. 

Scene Two 

[A Lawn before the Duke's Palace] 
Enter Rosalind and Celia. 

Cel. I pray thee, Rosalind, sweet my coz, be 
merry. 

Ros. Dear Celia, I show more mirth than I 
am mistress of, and would you yet I were mer- 
rier ? Unless you could teach me to forget a 
banished father, you must not learn me how to 
remember any extraordinary pleasure. 7 

Cel. Herein I see thou lovest me not with the . 
full weight that I love thee. If my uncle, thy 

170 go alone: walk without aid, i.e., of crutches 

173 gamester: frolicsome person 175 gentle : well born 

176 noble device: a noble cast of mind 

177 enchantingly beloved: i.e., loved as if he put men under a spell 
of fascination 180 misprised: despised 

181 clear all: settle everything 

182 kindle . . . thither: incite to take up the wrestling match 

1 coz: cousin 4 I; cf. n. 6 learn: teach 



As You Like It, I. ii 



banished father, had banished thy uncle, the 
duke my father, so thou hadst been still with 
me, I could have taught my love to take thy 
father for mine: so wouldst thou, if the truth 
of thy love to me were so righteously tempered 
as mine is to thee. 15 

Ros. Well, I will forget the condition of my 
estate, to rejoice in yours. 

Cel. You know my father hath no child but 
I, nor none is like to have; and, truly, when he 
dies, thou shalt be his heir : for what he hath 20 
taken away from thy father perforce, I will 
render thee again in affection; by mine honour, 
I will; and when I break that oath, let me turn 
monster. Therefore, my sweet Rose, my dear 
Rose, be merry. 25 

Ros. From henceforth I will, coz, and devise 
sports. Let me see; what think you of falling 
in love? 28 

Cel. Marry, I prithee, do, to make sport 
withal: but love no man in good earnest; nor 
no further in sport neither, than with safety of 
a pure blush thou mayst in honour come off 
again. 33 

Ros. What shall be our sport then ? 

Cel. Let us sit and mock the good housewife 
Fortune from her wheel, that her gifts may 
henceforth be bestowed equally. 37 

Ros. I would we could do so, for her benefits 
are mightily misplaced, and the bountiful blind 
woman doth most mistake in her gifts to women. 

21 perforce : by violence 22 render: return 

24 monster: i.e., something to point one's finger at in scorn 

27 sports: amusements, diversions 

32 pure blush: i.e., one without shame in it come off: escape 

36 Fortune . . . wheel; cf. n. 



As You Like It, I. ii 9 

Cel. 'Tis true; for those that she makes fair 
she scarce makes honest, and those that she 
makes honest she makes very ill-favouredly. 43 

Ros. Nay, now thou goest from Fortune's 
office to Nature's: Fortune reigns in gifts of 
the world, not in the lineaments of Nature. 

Enter Touchstone. 

Cel. No? when Nature hath made a fair crea- 
ture, may she not by Fortune fall into the fire? 
Though Nature hath given us wit to flout at 
Fortune, hath not Fortune sent in this fool to 
cut off the argument ? 51 

Ros. Indeed, there is Fortune too hard for 
Nature, when Fortune makes Nature's natural 
the cutter-off of Nature's wit. 

Cel. Peradventure this is not Fortune's work 
neither, but Nature's; who, perceiving our na- 
tural wits too dull to reason of such goddesses, 
hath sent this natural for our whetstone: for 
always the dulness of the fool is the whetstone 
of the wits. How now, wit! whither wander 
you ? 61 

Touch. Mistress, you must come away to 
your father. 

Cel. Were you made the messenger? 

Touch. No, by mine honour; but I was bid 
to come for you. 66 

Ros. Where learned you that oath, fool? 

Touch. Of a certain knight that swore by 
his honour they were good pancakes, and swore 

42 honest: chaste 43 ill-favouredly: ill-looking 

45 office: function 

48-50 Fortune: in 48 it means 'accident,' 'mischance' ; cf. n. 

53 natural: idiot, half-wit 

57 reason of: debate 



10 As You Like It, I. ii 

by his honour the mustard was naught: now, 
I'll stand to it, the pancakes were naught and 
the mustard was good, and yet was not the 
knight forsworn. 73 

Cel. How prove you that, in the great heap 
of your knowledge? 

Ros. Ay, marry: now unmuzzle your wisdom. 

Touch. Stand you both forth now: stroke 
your chins, and swear by your beards that I am 
a knave. 79 

Cel. By our beards, if we had them, thou art. 

Touch. By my knavery, if I had it, then I 
were; but if you swear by that that is not, you 
are not forsworn: no more was this knight, 
swearing by his honour, for he never had any; 
or if he had, he had sworn it away before ever 
he saw those pancakes or that mustard. 86 

Cel. Prithee, who is 't that thou meanest ? 

Touch. One that old Frederick, your father, 
loves. 

Cel. My father's love is enough to honour 
him. Enough! speak no more of him; you'll 
be whipped for taxation one of these days. 92 

Touch. The more pity, that fools may not 
speak wisely what wise men do foolishly. 

Cel. By my troth, thou sayest true; for since 
the little wit that fools have was silenced, the 
little foolery that wise men have makes a great 
show. Here comes Monsieur Le Beau. 98 

Enter Le Beau. 

Ros. With his mouth full of news. 

70 naught: worthless 71 stand to it: maintain 

90 Cel.; cf. n. 92 taxation: slander, backbiting 

96 fools . . . silenced; cf. n. 



As You Like It, I. ii n 

Cel. Which he will put on us, as pigeons feed 
their young. 

Ros. Then we shall be news-cramm'd. 

Cel. All the better; we shall be more market- 
able. 104 
Bon jour, Monsieur Le Beau: what's the news? 

Le Beau. Fair princess, you have lost much 
good sport. 

Cel. Sport! Of what colour? 108 

Le Beau. What colour, madam ! How shall 
I answer you? 

Ros. As wit and fortune will. 

Touch. Or as the Destinies decree. 112 

Cel. Well said : that was laid on with a trowel. 

Touch. Nay, if I keep not my rank, — 

Ros. Thou losest thy old smell. 

Le Beau. You amaze me, ladies : I would 
have told you of good wrestling, which you have 
lost the sight of. 118 

R os. Yet tell us the manner of the wrestling. 

LeBeau. I will tell you the beginning; and, 
if it please your ladyships, you may see the end, 
for the best is yet to do; and here, where you 
are, they are coming to perform it. 123 

Cel. Well, the beginning, that is dead and 
buried. 

Le Beau. There comes an old man and his 
three sons, — 127 

Cel. I could match this beginning with an 
old tale. 

100 put on: force on 

103 marketable: i.e., 'because we shall be like pigeons fattened for 
market' 108 Sport; cf. n. 112 Destinies; cf. ». 

113 laid . . . trowel: i.e., 'spread thickly' 

114 rank; cf. n. 116 amaze: bewilder 
129 old tale: i.e., because Le Beau's words resemble the opening line 

of many old fairy tales 



12 As You Like It, I. ii 

Le Beau. Three proper young men, of excel- 
lent growth and presence ; — 

Ros. With bills on their necks, 'Be it known 
unto all men by these presents.' 133 

Le Beau. The eldest of the three wrestled 
with Charles, the duke's wrestler; which Charles 
in a moment threw him and broke three of his 
ribs, that there is little hope of life in him : so 137 
he served the second, and so the third. Yonder 
they lie; the poor old man, their father, making 
such pitiful dole over them that all the beholders 
take his part with weeping. 141 

Ros. Alas ! 

Touch. But what is the sport, monsieur, that 
the ladies have lost? 144 

Le Beau. Why, this that I speak of. 

Touch. Thus men may grow wiser every day: 
it is the first time that ever I heard breaking of 
ribs was sport for ladies. 148 

Cel. Or I, I promise thee. 

Ros. But is there any else longs to see this 
broken music in his sides? is there yet another 
dotes upon rib-breaking? Shall we see this 
wrestling, cousin? 153 

LeJBeau. You must, if you stay here; for 
here is the place appointed for the wrestling, 
and they are ready to perform it. 156 

Cel. Yonder, sure, they are coming: let us 
now stay and see it. 

Flourish. Enter Duke [Frederick], Lords, Orlando, 
Charles, and Attendants. 

130 proper: good-looking 131 presence: demeanor, carriage 

132 bills: labels 'Be . . . presents': a legal phrase; cf. n. 

135 which: the which 137 that: so that 

140 dole: grief ', lamentation ISO any: anyone 
151 broken music; cf. n. 



As You Like It, I. ii 13 

Duke F. Come on: since the youth will not 
be entreated, his own peril on his forward- 
ness. 161 

Ros. Is yonder the man? 

Le Beau. Even he, madam. 

Cel. Alas! he is too young: yet he looks 
successfully. 165 

Duke F. How now, daughter and cousin ! are 
you crept hither to see the wrestling? 

Ros. Ay, my liege, so please you give us 
leave. 169 

Duke F. You will take little delight in it, 
I can tell you, there is such odds in the man: 
in pity of the challenger's youth I would fain 
dissuade him, but he will not be entreated. 
Speak to him, ladies; see if you can move him. 

Cel. Call him hither, good Monsieur le Beau. 

Duke F. Do so: I'll not be by. 176 

[Duke goes apart.] 

Le Beau. Monsieur the challenger, the princess 
calls for you. 

Orl. I attend them with all respect and duty. 

Ros. Young man, have you challenged Charles 
the wrestler ? 181 

Orl. No, fair princess; he is the general 
challenger: I come but in, as others do, to try 
with him the strength of my youth. 184 

Cel. Young gentleman, your spirits are too 
bold for your years. You have seen cruel proof 
of this man's strength: if you saw yourself with 
your eyes or knew yourself with your judgment, 

160 entreated: i.e. , not to wrestle his . . . forwardness: i.e., 'let 

him blame his peril on his own rashness' 
164 looks successfully: seems likely to succeed 
166 cousin: often used for any collateral relative, as niece 
171 odds . . . man: i.e., balance of advantage in favor of Charles 
179 them; cf. n. 187 saw . . . judgment; cf. n. 



14 As You Like It, I. ii 

the fear of your adventure would counsel you to 
a more equal enterprise. We pray you, for your 
own sake, to embrace your own safety and give 
over this attempt. 192 

Ros. Do, young sir: your reputation shall not 
therefore be misprised. We will make it our 
suit to the duke that the wrestling might not go 
forward. 196 

Orl. I beseech you, punish me not with your 
hard thoughts, wherein I confess me much 
guilty, to deny so fair and excellent ladies any- 
thing. But let your fair eyes and gentle wishes 
go with me to my trial: wherein if I be foiled, 
there is but one shamed that was never gracious ; 202 
if killed, but one dead that is willing to be so. I 
shall do my friends no wrong, for I have none to 
lament me; the world no injury, for in it I have 
nothing; only in the world I fill up a place, 
which may be better supplied when I have made 
it empty. 208 

Ros. The little strength that I have, I would 
it were with you. 

Cel. And mine, to eke out hers. 

Ros. Fare you well. Pray heaven I be deceived 
in you ! 213 

Cel. Your heart's desires be with you! 

Cha. Come, where is this young gallant that 
is so desirous to lie with his mother earth ? 216 

Orl. Ready, sir; but his will hath in it a more 
modest working. 

DuJce F. You shall try but one fall. 219 

195 suit: petition, entreaty 198 wherein . . . guilty; cf. n. 

202 gracious: in good favor 

206 only: modifies 'place' 

212 deceived: i.e., mistaken in my estimate of your ability 

218 working: intention 



As You Like It, I. ii 15 

Cha. No, I warrant your Grace, you shall not 
entreat him to a second, that have so mightily 
persuaded him from a first. 

Orl. You mean to mock me after; you should 
not have mocked me before : but come your 
ways. 225 

Ros. Now Hercules be thy speed, young man ! 
Cel. I would I were invisible, to catch the 
strong fellow by the leg. 228 

[Charles and Orlando] wrestle. 
Ros. O excellent young man! 
Cel. If I had a thunderbolt in mine eye, I can 
tell who should down. 

[Charles is thrown."] Shout. 
DuJce F. No more, no more. 232 

Orl. Yes, I beseech your Grace: I am not yet 
well breathed. 

Duke F. How dost thou, Charles ? 
Le Beau. He cannot speak, my lord. 236 

Duke F. Bear him away. What is thy name, 
young man? [Charles is borne out.] 

Orl. Orlando, my liege; the youngest son of 
Sir Rowland de Boys. 240 

Duke F. I would thou hadst been son to some 
man else: 
The world esteem'd thy father honourable, 
But I did find him still mine enemy: 
Thou shouldst have better pleas'd me with this 
deed, 244 

Hadst thou descended from another house. 
But fare thee well; thou art a gallant youth: 
I would thou hadst told me of another father. 

Exit Duke [with Lords and Attendants], 

226 Hercules . . . speed; cf. n. 234 well breathed : fully exercised 

243 still : constantly 245 house : family 



16 As You Like It, I. ii 

Cel. Were I my father, coz, would I do this ? 248 

Orl. I am more proud to be Sir Rowland's son, 
His youngest son ; and would not change that calling, 
To be adopted heir to Frederick. 

Ros. My father lov'd Sir Rowland as his soul, 252 
And all the world was of my father's mind: 
Had I before known this young man his son, 
I should have given him tears unto entreaties, 
Ere he should thus have ventur'd. 

Cel. Gentle cousin, 256 

Let us go thank him and encourage him: 
My father's rough and envious disposition 
Sticks me at heart. Sir, you have well deserv'd: 
If you do keep your promises in love 260 

But justly, as you have exceeded all promise, 
Your mistress shall be happy. 

R os. Gentleman, 

[Giving him a chain from her neck."\ 
Wear this for me, one out of suits with fortune, 
That could give more, but that her hand lacks 
means. 264 

Shall we go, coz? 

Cel. Ay. Fare you well, fair gentleman. 

Orl. Can I not say, I thank you? My better parts 
Are all thrown down, and that which here stands up 
Is but a quintain, a mere lifeless block. 268 

Ros. He calls us back: my pride fell with my for- 
tunes ; 
I'll ask him what he would. Did you call, sir? 
Sir, you have wrestled well, and overthrown 

250 calling: name 255 unto : in addition to 

258 envious: spiteful 

259 Sticks . . . heart: stabs me to the heart 

261 But justly: as exactly promise: i.e., in wrestling 

263 suits . . . fortune; cf. n. 

264 could: i.e., could find it in her heart 

266 better parts: i.e., his spirit and sense 268 quintain; cf. n. 



As You Like It, I. ii i? 

More than your enemies. 

Cel. Will you go, coz? 272 

Ros. Have with you. Fare you well. 

Exeunt [Rosalind and Celia.] 
Orl. What passion hangs these weights upon my 
tongue ? 
I cannot speak to her, yet she urg'd conference. 

Enter Le Beau. 

O poor Orlando, thou art overthrown! 276 

Or Charles or something weaker masters thee. 

Le Beau. Good sir, I do in friendship counsel you 
To leave this place. Albeit you have deserv'd 
High commendation, true applause and love, 280 
Yet such is now the duke's condition 
That he misconsters all that you have done. 
The duke is humorous: what he is indeed, 
More suits you to conceive than I to speak of. 284 

Orl. I thank you, sir; and pray you, tell me 
this; 
Which of the two was daughter of the duke, 
That here was at the wrestling? 

LeBeau. Neither his daughter, if we judge by 
manners : 288 

But yet, indeed the taller is his daughter: 
The other is daughter to the banish'd duke, 
And here detain'd by her usurping uncle, 
To keep his daughter company; whose loves 292 

Are dearer than the natural bond of sisters. 
But I can tell you that of late this duke 
Hath ta'en displeasure 'gainst his gentle niece, 
Grounded upon no other argument 296 

273 Have with you: I'll go along with you 

275 urg'd conference: invited talk 

281 condition: disposition 282 misconsters: misconstrues 

283 humorous: capricious 289 taller; cf. n. 



18 As You Like It, I. Hi 

But that the people praise her for her virtues, 
And pity her for her good father's sake ; 
And, on my life, his malice 'gainst the lady 
Will suddenly break forth. Sir, fare you well: 300 
Hereafter, in a better world than this, 
I shall desire more love and knowledge of you. 
Orl. I rest much bounden to you: fare you well. 

[Exit Le Beau.'] 
Thus must I from the smoke into the smother ; 304 

From tyrant duke unto a tyrant brother. 
But heavenly Rosalind! Exit. 

Scene Three 
[A Room in the Palace] 

Enter Celia and Rosalind. 

Cel. Why, cousin! why, Rosalind! Cupid 
have mercy ! Not a word ? 

Ros. Not one to throw at a dog. 3 

Cel. No, thy words are too precious to be cast 
away upon curs; throw some of them at me; 
come, lame me with reasons. 

Ros. Then there were two cousins laid up; 
when the one should be lamed with reasons and 
the other mad without any. 9 

Cel. But is all this for your father? 

Ros. No, some of it is for my child's father: 
O, how full of briers is this working-day world! 

Cel. They are but burrs, cousin, thrown upon 
thee in holiday foolery: if we walk not in the 
trodden paths, our very petticoats will catch 
them. 16 

301 better world: i.e., in a better age, or state of affairs 

303 bounden: obliged 304 smoke . . . smother; cf. n. 



As You Like It, Z. Hi 19 

Ros. I could shake them off my coat: these 
burrs are in my heart. 

Cel. Hem them away. 

Ros. I would try, if I could cry 'hem,' and 
have him. 21 

Cel. Come, come; wrestle with thy affections. 

Ros. O ! they take the part of a better wrestler 
than myself! 24 

Cel. O, a good wish upon you ! you will try in 
time, in despite of a fall. But, turning these 
jests out of service, let us talk in good earnest: 
is it possible, on such a sudden, you should fall 
into so strong a liking with old Sir Rowland's 
youngest son? 

Ros. The duke my father loved his father 
dearly. 32 

Cel. Doth it therefore ensue that you should 
love his son dearly? By this kind of chase, I 
should hate him, for my father hated his father 
dearly; yet I hate not Orlando. 36 

Ros. No, faith, hate him not, for my sake. 

Cel. Why should I not? doth he not deserve 
well? 

Enter Duke [Frederick/] with Lords. 

Ros. Let me love him for that; and do you 
love him, because I do. Look, here comes the 
duke. 42 

Cel. With his eyes full of anger. 
Duhe F. Mistress, dispatch you with your safest 

haste, 44 

19 Hem: clear away with a cough 20 'hem' . . . him; cf. n. 

26 in despite of: notwithstanding turning . . . out of service: dis- 

missing 34 chase: pursuit of an argument 

36 dearly: deeply 38 Why . . . not; cf. n. deserve well; cf. n. 

44 safest haste: i.e., with haste conducive to your best safety 



20 As You Like It, I. Hi 

And get you from our court. 

Ros. Me, uncle? 

Duke F. You, cousin : 

Within these ten days if that thou be'st found 
So near our public court as twenty miles, 
Thou diest for it. 

Ros. I do beseech your Grace, 48 

Let me the knowledge of my fault bear with me. 
If with myself I hold intelligence, 
Or have acquaintance with mine own desires, 
If that I do not dream or be not frantic, — 52 

As I do trust I am not, — then, dear uncle, 
Never so much as in a thought unborn 
Did I offend your highness. 

DuJce F. Thus do all traitors : 

If their purgation did consist in words, 56 

They are as innocent as grace itself: 
Let it suffice thee that I trust thee not. 

Ros. Yet your mistrust cannot make me a traitor: 
Tell me whereon the likelihood depends. 60 

Duke F. Thou art thy father's daughter; there's 
enough. 

Ros. So was I when your highness took his duke- 
dom; 
So was I when your highness banish'd him. 
Treason is not inherited, my lord; 64 

Or, if we did derive it from our friends, 
What's that to me? my father was no traitor: 
Then, good my liege, mistake me not so much 
To think my poverty is treacherous. 68 

Cel. Dear sovereign, hear me speak. 

Duke F. Ay, Celia ; we stay'd her for your sake ; 

50 intelligence: communication 

56 purgation: clearing from the accusation of guilt 

57 grace: God himself 60 likelihood: ground of probable inference 
70 stay'd: i.e., allowed her to stay 



As You Like It, I. Hi 21 

Else had she with her father rang'd along. 

Cel. I did not then entreat to have her stay: 72 
It was your pleasure and your own remorse. 
I was too young that time to value her ; 
But now I know her: if she be a traitor, 
Why so am I ; we still have slept together, 76 

Rose at an instant, learn' d, play'd, eat together ; 
And wheresoe'er we went, like Juno's swans, 
Still we went coupled and inseparable. 

Duke F. She is too subtle for thee ; and her smooth- 
ness, 80 
Her very silence and her patience, 
Speak to the people, and they pity her. 
Thou art a fool : she robs thee of thy name ; 
And thou wilt show more bright and seem more 
virtuous 84 
When she is gone. Then open not thy lips : 
Firm and irrevocable is my doom 
Which I have pass'd upon her; she is banish'd. 

Cel. Pronounce that sentence then, on me, my 
liege : 88 

I cannot live out of her company. 

Duke F. You are a fool. You, niece, provide your- 
self: 
If you outstay the time, upon mine honour, 
And in the greatness of my word, you die. 92 

Exit Duke [with Lords]. 

Cel. O my poor Rosalind! whither wilt thou go? 
Wilt thou change fathers? I will give thee mine. 
I charge thee, be not thou more griev'd than I am. 

Ros. I have more cause. 

71 rang'd: roamed 73 remorse: compassion 

74 that: at that 

77 at an instant: at the same time eat: eaten 

78 Juno's swans; cf. n. 

84 virtuous: gifted with good qualities 86 doom: sentence 



22 As You Like It, L Hi 

Cel. Thou hast not, cousin; 96 

Prithee, be cheerful; know'st thou not, the duke 
Hath banish'd me, his daughter ? 

Ros. That he hath not. 

Cel. No, hath not? Rosalind lacks then the love 
Which teacheth thee that thou and I am one: 100 

Shall we be sunder'd? shall we part, sweet girl? 
No: let my father seek another heir. 
Therefore devise with me how we may fly, 
Whither to go, and what to bear with us: 104 

And do not seek to take your change upon you, 
To bear your griefs yourself and leave me out ; 
For, by this heaven, now at our sorrows pale, 
Say what thou canst, I'll go along with thee. 108 

Ros. Why, whither shall we go? 

Cel. To seek my uncle in the forest of Arden. 

Ros. Alas, what danger will it be to us, 
Maids as we are, to travel forth so far ! 112 

Beauty provoketh thieves sooner than gold. 

Cel. I'll put myself in poor and mean attire, 
And with a kind of umber smirch my face; 
The like do you: so shall we pass along lie 

And never stir assailants. 

Ros. Were it not better, 

Because that I am more than common tall, 
That I did suit me all points like a man ? 
A gallant curtle-axe upon my thigh, 120 

A boar-spear in my hand ; and, in my heart 
Lie there what hidden woman's fear there will, 
We'll have a swashing and a martial outside, 
As many other mannish cowards have 124 

That do outface it with their semblances. 

10S change: i.e., of fortunes 115 umber: brown pigment 

119 suit: clothe, dress all points: in all respects 

120 curtle-axe: broad cutting sword 123 swashing: blustering 
125 outface it: brazen it out semblances: appearance 



As You Like It, II. i 23 



Cel. What shall I call thee when thou art a man? 

Ros. I'll have no worse a name than Jove's own 
page, 
And therefore look you call me Ganymede. 128 

But what will you be call'd? 

Cel. Something that hath a reference to my state: 
No longer Celia, but Aliena. 

Ros. But, cousin, what if we assay'd to steal 132 
The clownish fool ouy of your father's court? 
Would he not be a comfort to our travel? 

Cel. He'll go alpng o'er the wide world with me; 
Leave me alone to woo him. Let's away, 136 

And get our jewel/S and our wealth together, 
Devise the fittest fame and safest way 
To hide us from p/ursuit that will be made 
After my flight. ^Now go we in content / 140 

To liberty and not to banishment. /Exeunt. 

\ 





ACT SECOND 

Scene One 
[%he Forest of Arden] 

Enter I%uJce Senior, Amiens, and two or three Lords, 
like Foresters. 

Duke S. Now, my co-mates and brothers in exile, 
Hath not old custom made this life more sweet 
Than that of painted pomp? Are not these woods 
More free from peril than the envious court? 4 

Here feel we not the penalty of Adam. 
The seasons' difference — , as, the icy fang 

128 Ganymede; cf. n. 131 Aliena; cf. n. 

S. d. Duke Senior; cf. n. 3 painted: artificial, unnatural 

5 penalty of Adam; cf. n. 6 as: for example 



24 As You Like It, II. i 

And churlish chiding of the winter's wind, 
Which, when it bites and blows upon my body, 8 
Even till I shrink with cold, I smile and say — 
'This is no flattery': these are counsellors 
That feelingly persuade me what I am. 
Sweet are the uses of adversity, 12 

Which like the toad, ugly and venomous, 
Wears yet a precious jewel in his head; 
And this our life exempt from public haunt, 
Finds tongues in trees, books in the running 
brooks, 16 

Sermons in stones, and good in every thing. 

Ami. I would not change it. Happy is your Grace, 
That can translate the stubbornness of fortune 
Into so quiet and so sweet a style. 20 

DuJce S. Come, shall we go and kill us venison ? 
And yet it irks me, the poor dappled fools, 
Being native burghers of this desert city, 
Should in their own confines with forked heads 24 
Have their round haunches gor'd. 

First Lord. Indeed, my lord, 

The melancholy Jaques grieves at that; 
And, in that kind, swears you do more usurp 
Than doth your brother that hath banish' d you. 28 
To-day my Lord of Amiens and myself 
Did steal behind him as he lay along 
Under an oak whose antic root peeps out 
Upon the brook that brawls along this wood; 32 

To the which place a poor sequester'd stag, 

7 churlish: rough, violent chiding: angry noise 

13 toad; cf. n. 15 haunt: resort 18 I ... it; cf. n. 

20 style : manner of life 

22 fools: here a term of pity 23 desert; cf. n. 

24 confines: regions forked heads: i.e., the heads of barbed arrows 

27 in that kind: in that way 30 along: at full length 

31 antic: fantastic, grotesque, or antique 

32 brawls: i.e., the noise made by a brook flowing over stones 

33 sequester'd: separated, i.e., from the herd 



As You Like It, II. i 25 

That from the hunters' aim had ta'en a hurt, 

Did come to languish; and, indeed, my lord, 

The wretched animal heav'd forth such groans 36 

That their discharge did stretch his leathern coat 

Almost to bursting, and the big round tears 

Cours'd one another down his innocent nose 

In piteous chase ; and thus the hairy fool, 40 

Much marked of the melancholy Jaques, 

Stood on the extremest verge of the swift brook, 

Augmenting it with tears. 

DuJce S. But what said Jaques ? 

Did he not moralize this spectacle? 44 

First Lord. O, yes, into a thousand similes. 
First, for his weeping into the needless stream; 
'Poor deer/ quoth he, 'thou mak'st a testament 
As worldlings do, giving thy sum of more 48 

To that which had too much' : then, being there alone, 
Left and abandon'd of his velvet friends; 
' 'Tis right,' quoth he; 'thus misery doth part 
The flux of company': anon, a careless herd, 52 

Full of the pasture, jumps along by him 
And never stays to greet him; 'Ay,' quoth Jaques, 
'Sweep on, you fat and greasy citizens; 
'Tis just the fashion; wherefore do you look 56 

Upon that poor and broken bankrupt there?' 
Thus most invectively he pierceth through 
The body of the country, city, court, 
Yea, and of this our life; swearing that we 60 

Are mere usurpers, tyrants, and what's worse, 

38 tears; cf. n. 39 Cours'd: pursued 

44 moralize : interpret, give a moral sense to 

46 needless: not in need, i.e., of more water 

48 worldlings: men of this world (?) 

50 velvet: i.e., because of their soft coats (?) ; cf. n. 

52 flux of company; cf. n. anon: presently 

55 greasy: i.e., with excess prosperity 

56 fashion: prevalent way, what is to be expected 
58 invectively: with denunciation 



26 As You Like It, II. ii 

To fright the animals and to kill them up 
In their assign'd and native dwelling-place. 

Duke S. And did you leave him in this contem- 
plation ? 64 
Sec. Lord. We did, my lord, weeping and com- 
menting 
Upon the sobbing deer. 

Duke S. Show me the place. 

I love to cope him in these sullen fits, 
For then he's full of matter. 68 

Sec. Lord. I'll bring you to him straight. 

Exeunt. 

Scene Two 

[A Room in the Palace] 

Enter Duke [Frederick], with Lords. 

Duke F. Can it be possible that no man saw them? 
It cannot be: some villains of my court 
Are of consent and sufferance in this. 

First Lord. I cannot hear of any that did see 
her. 4 

The ladies, her attendants of her chamber, 
Saw her a-bed; and, in the morning early 
They found the bed untreasur'd of their mistress. 

Sec. Lord. My lord, the roynish clown, at whom 
so oft 8 

Your Grace was wont to laugh, is also missing. 
Hisperia, the princess' gentlewoman, 
Confesses that she secretly o'erheard 
Your daughter and her cousin much commend 12 

62 kill . . . up: kill off 67 cope: encounter 
68 matter : sense, substance 69 straight: straightway 
3 of consent and sufferance: i.e., have complied and permitted with- 
out opposition 7 untreasur'd: devoid of the treasure 
8 roynish: scurvy 



As You Like It, II. Hi 27 

The parts and graces of the wrestler 
That did but lately foil the sinewy Charles ; 
And she believes, wherever they are gone, 
That youth is surely in their company. 16 

Duke F. Send to his brother ; fetch that gallant 
hither ; 
If he be absent, bring his brother to me; 
111 make him find him. Do this suddenly, 
And let not search and inquisition quail 20 

To bring again these foolish runaways. Exeunt. 

Scene Three 

[Before Oliver's House] 

Enter Orlando and Adam [meeting']. 

Orl. Who's there? 

Adam. What! my young master? O my gentle 
master ! 
O my sweet master! O you memory 
Of old Sir Rowland! why, what make you here? 4 
Why are you virtuous? Why do people love you? 
And wherefore are you gentle, strong, and valiant? 
Why would you be so fond to overcome 
The bonny priser of the humorous duke? 8 

Your praise is come too swiftly home before you. 
Know you not, master, to some kind of men 
Their graces serve them but as enemies ? 
No more do yours: your virtues, gentle master, 12 
Are sanctified and holy traitors to you. 
O, what a world is this, when what is comely 

13 parts: personal qualities 19 suddenly : immediately 

20 quail: falter 3 memory: memorial 

7 so fond: so foolish as 

8 bonny priser: stout champion; cf. 'prise- fighter' 10 kind: sorts 
12 No . . . yours; cf. n. 13 sanctified: sanctimonious 



28 As You Like It, II. Hi 

Envenoms him that bears it ! 

Orl. Why, what's the matter? 

Adam. O unhappy youth! 16 

Come not within these doors ; within this roof 
The enemy of all your graces lives. 
Your brother, — no, no brother; yet the son, — 
Yet not the son, I will not call him son 20 

Of him I was about to call his father, — 
Hath heard your praises, and this night he means 
To burn the lodging where you use to lie, 
And you within it: if he fail of that, 24 

He will have other means to cut you off. 
I overheard him and his practices. 
This is no place; this house is but a butchery: 
Abhor it, fear it, do not enter it. 28 

Orl. Why, whither, Adam, wouldst thou have me 
go? 

Adam. No matter whither, so you come not here. 

Orl. What! wouldst thou have me go and beg my 
food? 
Or with a base and boisterous sword enforce 32 

A thievish living on the common road? 
This I must do, or know not what to do: 
Yet this I will not do, do how I can ; 
I rather will subject me to the malice 36 

Of a diverted blood and bloody brother. 

Adam. But do not so. I have five hundred crowns, 
The thrifty hire I sav'd under your father, 
Which I did store to be my foster-nurse 40 

When service should in my old limbs lie lame, 
And unregarded age in corners thrown. 

15 Envenoms: proves poisonous to; cf. n. 

23 use: are wont 26 practices: stratagems 

27 place: residence butchery: shambles; cf. n. 

37 diverted blood; cf. n. 39 thrifty . . . sav'd: hire I thriftily saved 

42 in corners thrown : (lie) cast aside 



As You Like It, II. Hi 29 

Take that; and He that doth the ravens feed,, 

Yea, providently caters for the sparrow, 44 

Be comfort to my age! Here is the gold; 

All this I give you. Let me be your servant: 

Though I look old, yet I am strong and lusty; 

For in my youth I never did apply 48 

Hot and rebellious liquors in my blood, 

Nor did not with unbashful forehead woo 

The means of weakness and debility ; 

Therefore my age is as a lusty winter, 52 

Frosty, but kindly. Let me go with you; 

I'll do the service of a younger man 

In all your business and necessities. 

Orl. O good old man ! how well in thee appears 56 
The constant service of the antique world, 
When service sweat for duty, not for meed ! 
Thou art not for the fashion of these times, 
Where none will sweat but for promotion, 60 

And having that, do choke their service up 
Even with the having: it is not so with thee. 
But, poor old man, thou prun'st a rotten tree, 
That cannot so much as a blossom yield, 64 

In lieu of all thy pains and husbandry. 
But come thy ways, we'll go along together, 
And ere we have thy youthful wages spent, 
We'll light upon some settled low content. 68 

Adam. Master, go on, and I will follow thee 
To the last gasp with truth and loyalty. 
From seventeen years till now almost fourscore 
Here lived I, but now live here no more. 72 

At seventeen years many their fortunes seek; 
But at fourscore it is too late a week: 

43 ravens; cf. n. 50 Nor . . . not; cf. n. 

51 means: cau ses 53 -kindly: seasonable, healthful 

58 meed: reward 65 In lieu of: in return for 

67 youthful: i.e., earned in youth 74 a week; cf. n. 



30 As You Like It, II. iv 

Yet fortune cannot recompense me better 
Than to die well and not my master's debtor. 76 

Exeunt. 



Scene Four 
[The Forest of Arden] 

Enter Rosalind for Ganymede, Celia for Aliena, and 
Clown, alias Touchstone. 

Ros. O Jupiter! how weary are my spirits. 

Touch. I care not for my spirits if my legs 
were not weary. 

Ros. I could find it in my heart to disgrace my 
man's apparel and to cry like a woman; but I 
must comfort the weaker vessel, as doublet and 
hose ought to show itself courageous to petti- 
coat: therefore, courage, good Aliena. 8 

Cel. I pray you, bear with me: I cannot go 
no further. 

Touch. For my part, I had rather bear with 
you than bear you; yet I should bear no cross if 
I did bear you, for I think you have no money 
in your purse. 14 

Ros. Well, this is the forest of Arden. 

Touch. Ay, now am I in Arden; the more 
fool I: when I was at home, I was in a better 
place: but travellers must be content. 

Enter Corin and Silvius. 

Ros. Ay, be so, good Touchstone. Look you, 
who comes here; a young man and an old in 
solemn talk. 21 

Scene Four S. d. for: i.e., dressed to represent 
12 cross . . . money; cf. n. 



As You Like It, II. iv 81 

Cor. That is the way to make her scorn you still. 
Sil. O Corin, that thou knew'st how I do love her ! 
Cor. I partly guess, for I have lov'd ere now. 24 
Sil. No, Corin; being old, thou canst not guess, 

Though in thy youth thou wast as true a lover 

As ever sigh'd upon a midnight pillow: 

But if thy love were ever like to mine, — 28 

As sure I think did never man love so, — 

How many actions most ridiculous 

Hast thou been drawn to by thy fantasy? 

Cor. Into a thousand that I have forgotten. 32 

Sil. O ! thou didst then ne'er love so heartily. 

If thou remember'st not the slightest folly 

That ever love did make thee run into, 

Thou hast not lov'd: 36 

Or if thou hast not sat as I do now, 

Wearing thy hearer with thy mistress' praise, 

Thou hast not lov'd: 

Or if thou hast not broke from company 40 

Abruptly, as my passion now makes me, 

Thou hast not lov'd. O Phebe, Phebe, Phebe ! 

Exit. 
Ros. Alas, poor shepherd! searching of thy wound, 

I have by hard adventure found mine own. 44 

Touch. And I mine. I remember, when I was 
in love I broke my sword upon a stone, and bid 
him take that for coming a-night to Jane Smile; 
and I remember the kissing of her batler, and 
the cow's dugs that her pretty chopped hands 
had milked ; and I remember the wooing of a 50 
peascod instead of her, from whom I took two 

31 fantasy : imagination 38 Wearing: wearing out 

43 thy wound; cf. n. 44 adventure: hazard, chance 

48 batler: bat for beating clothes in the process of washing 

49 chopped: chapped 51 peascod; cf. n. 



32 As You Like It, II. iv 

cods, and giving her them again, said with weep- 
ing tears, 'Wear these for my sake.' We that are 
true lovers run into strange capers; but as all is 
mortal in nature, so is all nature in love mortal 
in folly. 56 

Ros. Thou speakest wiser than thou art ware 

of. 

i 

Touch. Nay, I shall ne'er be ware of mine own 

wit till I break my shins against it. 60 

Ros. Jove, Jove! this shepherd's passion 
Is much upon my fashion. 
Touch. And mine; but it grows something 

stale with me. 64 

Cel. I pray you, one of you question yond man, 
If he for gold will give us any food: 
I faint almost to death. 

Touch. Holla, you clown ! 

Ros. Peace, fool: he's not thy kinsman. 

Cor. Who calls? 68 

Touch. Your betters, sir. 

Cor. Else are they very wretched. 

Ros. Peace, I say. Good even to you, friend. 

Cor. And to you, gentle sir, and to you all. 

Ros. I prithee, shepherd, if that love or gold 72 
Can in this desert place buy entertainment, 
Bring us where we may rest ourselves and feed. 
Here's a young maid with travel much oppress'd, 
And faints for succour. 

Cor. Fair sir, I pity her, 76 

And wish, for her sake more than for mine own, 
My fortunes were more able to relieve her ; 
But I am shepherd to another man, 

52 cods: pods 

55 nature in love: i.e., human lovers mortal in folly: deadly foolish 

57 ware: aware 59 be ware : beware 67 clown: peasant 



As You Like It, II. iv 33 

And do not shear the fleeces that I graze : 80 

My master is of churlish disposition 

And little recks to find the way to heaven 

By doing deeds of hospitality. 

Besides, his cote, his flocks, and bounds of feed 84 

Are now on sale; and at our sheepcote now, 

By reason of his absence, there is nothing 

That you will feed on; but what is, come see, 

And in my voice most welcome shall you be. 88 

Ros. What is he that shall buy his flock and pas- 
ture ? 

Cor. That young swain that you saw here but ere- 
while, 
That little cares for buying anything. 

R os. I pray thee, if it stand with honesty, 92 

Buy thou the cottage, pasture, and the flock, 
And thou shalt have to pay for it of us. 

Cel. And we will mend thy wages. I like this 
place, 
And willingly could waste my time in it. 96 

Cor. Assuredly the thing is to be sold: 
Go with me: if you like upon report 
The soil, the profit, and this kind of life, 
I will your very faithful feeder be, 100 

And buy it with your gold right suddenly. Exeunt. 

82 recks: cares 

84 cote: cottage bounds of feed: range of pasture 

88 in my voice: as far as my opinion is concerned 

89 What: who shall: is expected to 

92 honesty: honor 95 mend: increase 

96 waste: spend 98 upon report: i.e., what is said about 

100 feeder: servant 



34 As You Like It, II. v 

Scene Five 

[Another Part of the Forest] 
Enter Amiens, Jaques, and Others. 

Song. 

Ami. 'Under the greenwood tree 
Who loves to lie with me, 
And turn his merry note 

Unto the sweet bird's throat, 4 

Come hither, come hither, come hither: 
Here shall he see 
No enemy 
But winter and rough weather.' 8 

Jaq. More, more, I prithee, more. 

Ami. It will make you melancholy, Monsieur 
Jaques. ll 

Jaq. I thank it. More! I prithee, more. I 
can suck melancholy out of a song as a weasel 
sucks eggs. More ! I prithee, more. 

Ami. My voice is ragged; I know I cannot 
please you. 16 

Jaq. I do not desire you to please me; I do 
desire you to sing. Come, more; another stanzo: 
call you them stanzos? 

Ami. What you will, Monsieur Jaques. 20 

Jaq. Nay, I care not for their names; they 
owe me nothing. Will you sing? 

Ami. More at your request than to please 
myself. 24 

Jaq. Well then,if ever I thank any man,I'll thank 
you: but that they call compliment is like the en- 

3 turn: compose; cf. n. 18 stanzo: stanza 

21 names: i.e., their technical names 



As You Like It, II. v 35 

counter of two dog-apes, and when a man thanks 
me heartily, methinks I have given him a penny 
and he renders me the beggarly thanks. Come, 
sing; and you that will not, hold your tongues. 

Ami. Well, I'll end the song. Sirs, cover the 
while ; the duke will drink under this tree. He 
hath been all this day to look you. 33 

" Jaq. And I have been all this day to avoid him. 
He is too disputable for my company: I think of 
as many matters as he, but I give heaven thanks, 
and make no boast of them. Come, warble ; come. 

Song. 

All together here. 
Ami. 'Who doth ambition shun, 

And loves to live i' the sun, 
Seeking the food he eats, 40 

And pleased with what he gets, 
Come hither, come hither, come hither : 
Here shall he see 

No enemy 44 

But winter and rough weather/ 

Jaq. I'll give you a verse to this note, that I 
made yesterday in despite of my invention. 

Ami. And I'll sing it. 48 

Jaq. Thus it goes: 

'If it do come to pass 
That any man turn ass, 
Leaving his wealth and ease, 52 

A stubborn will to please, 

27 dog-apes; cf. n. 29 beggarly: i.e., like a beggar 

31 cover: spread the cloth for a meal 33 look: look for 

35 disputable: inclined to dispute 

46 note: tune 

47 in . . . invention : in defiance of my imagination 



36 As You Like It, II. vi 

Ducdame, ducdame, ducdame: 

Here shall he see 

Gross fools as he, 56 

An if he will come to me.' 

Ami. What's that "ducdame"? 

Jaq. 'Tis a Greek invocation to call fools into 
a circle. I'll go sleep if I can; if I cannot, I'll 
rail against all the first-born of Egypt. 61 

Ami. And I'll go seek the duke: his banquet 
is prepared. Exeunt. 

Scene Six 
[Another Part of the Forest~\ 

Enter Orlando and Adam. 

Adam. Dear master, I can go no further: O! 
I die for food. Here lie I down, and measure 
out my grave. Farewell, kind master. 3 

Orl. Why, how now, Adam ! no greater heart 
in thee? Live a little; comfort a little; cheer 
thyself a little. If this uncouth forest yield any- 
thing savage, I will either be food for it, or bring 
it for food to thee. Thy conceit is nearer death 8 
than thy powers. For my sake be comfortable, 
hold death awhile at the arm's end, I will here 
be with thee presently, and if I bring thee not 
something to eat, I will give thee leave to die ; 12 
but if thou diest before I come, thou art a 
mocker of my labour. Well said! thou lookest 
cheerly, and I'll be with thee quickly. Yet thou 

54 Ducdame; cf. n. 59 fools . . . circle: i.e., as if by conjuring 

61 first-born of Egypt; cf. n. 5 comfort: take comfort 

8 conceit: imagination 9 comfortable: cheerful 
11 presently: immediately 



As You Like It, II. vii 37 

liest in the bleak air: come I will bear thee to 
some shelter, and thou shalt not die for lack of 
a dinner, if there live anything in this desert. 
Cheerly, good Adam. Exeunt. 

Scene Seven 

[Another Part of the Forest] 

[A table set out.] Enter Duke Senior, [Amiens,] and 
Lords, like Outlaws. 

Duke S. I think he be trans form' d into a beast, 
For I can nowhere find him like a man. 

First Lord. My lord, he is but even now gone 
hence : 
Here was he merry, hearing of a song. 4 

Duke S. If he, compact of jars, grow musical, 
We shall have shortly discord in the spheres. 
Go, seek him: tellhim I would speak with him. 

Enter Jaques. 

First Lord. He saves my labour by his own ap- 
proach. 8 

Duke S. Why, how now, monsieur ! what a life is 
this, 
That your poor friends must woo your company? 
What, you look merrily ! 

Jaq. A fool, a fool ! I met a fool i' the forest, 12 
A motley fool; a miserable world! 
As I do live by food, I met a fool ; 
Who laid him down and bask'd him in the sun, 
And raiFd on Lady Fortune in good terms, 16 

4 hearing of : listening to 

5 compact of jars: made up of discords 6 spheres; cf. n. 
13 motley: i.e., in the parti-colored dress of a professional jester 

16 rail'd . . . Fortune; cf. n. 



38 As You Like It, II. vii 

In good set terms, and yet a motley fool. 

'Good morrow, fool/ quoth I. 'No, sir/ quoth he, 

'Call me not fool till heaven hath sent me fortune/ 

And then he drew a dial from his poke, 20 

And, looking on it with lack-lustre eye, 

Says very wisely, 'It is ten o'clock; 

Thus may we see/ quoth he, 'how the world wags: 

'Tis but an hour ago since it was nine, 24 

And after one hour more 'twill be eleven; 

And so, from hour to hour we ripe and ripe, 

And then from hour to hour we rot and rot, 

And thereby hangs a tale.' When I did hear 28 

The motley fool thus moral on the time, 

My lungs began to crow like chanticleer, 

That fools should be so deep-contemplative, 

And I did laugh sans intermission 32 

An hour by his dial. O noble fool ! 

A worthy fool! Motley's the only wear. 

Duke S. What fool is this? 

Jaq. O worthy fool! One that hath been a 
courtier, 36 

And says, if ladies be but young and fair, 
They have the gift to know it ; and in his brain, — 
Which is as dry as the remainder biscuit 
After a voyage, — he hath strange places cramm'd 40 
With observation, the which he vents 
In mangled forms. O that I were a fool ! 
I am ambitious for a motley coat. 

Duke S. Thou shalt have one. 

Jaq. It is my only suit ; 44 

Provided that you weed your better judgments 

20 dial: pocket sun-dial (?) poke: pocket 

23 wags: goes forward 28 thereby . . . tale; cf. n. 

29 moral: moralize 30 chanticleer; cf. n. 32 sans: without 

34 wear: proper uniform {i.e., we ought all to dress as fools) 

39 dry: dull, stupid 41 vents: utters 44 my only suit; cf. n. 



As You Like It, II. vii 39 

Of all opinion that grows rank in them 

That I am wise. I must have liberty 

Withal, as large a charter as the wind, 48 

To blow on whom I please; for so fools have: 

And they that are most galled with my folly, 

They most must laugh. And why, sir, must they so? 

The 'why' is plain as way to parish church: 52 

He that a fool doth very wisely hit 

Doth very foolishly, although he smart, 

Not to seem senseless of the bob; if not, 

The wise man's folly is anatomiz'd 56 

Even by the squandering glances of the fool. 

Invest me in my motley ; give me leave 

To speak my mind, and I will through and through 

Cleanse the foul body of th' infected world, 60 

If they will patiently receive my medicine. 

Duke S. Fie on thee ! I can tell what thou wouldst 
do. 

Jaq. What, for a counter, would I do, but good? 

Duke S. Most mischievous foul sin, in chiding 
sin : 64 

For thou thyself hast been a libertine, 
As sensual as the brutish sting itself ; 
And all the embossed sores and headed evils, 
That thou with licence of free foot hast caught, 68 
Wouldst thou disgorge into the general world. 

Jaq. Why, who cries out on pride, 
That can therein tax any private party? 
Doth it not flow as hugely as the sea, 72 

Till that the weary very means do ebb? 

48 large . . . charter : broad license 50 galled : made sore 

55 senseless: insensible bob: taunt 57 squandering: random 
63 counter: a coin of no intrinsic value 

66 sting: carnal impulse 

67 embossed: swollen headed evils: diseases come to a head 

68 licence of free foot: licentiou s freedom 69 general: w ho le 
71 tax: censure 73' weary very; cf. n. 



40 As You Like It, II. vii 

What woman in the city do I name, 

When that I say the city-woman bears 

The cost of princes on unworthy shoulders ? 76 

Who can come in and say that I mean her, 

When such a one as she such is her neighbour ? 

Or what is he of basest function, 

That says his bravery is not on my cost, — 80 

Thinking that I mean him, — but therein suits 

His folly to the mettle of my speech? 

There then; how then? what then? Let me see 

wherein 
My tongue hath wrong'd him: if it do him right, 84 
Then he hath wrong'd himself ; if he be free, 
Why then, my taxing like a wild goose flies, 
Unclaim'd of any man. But who comes here? 

Enter Orlando [with his sword drawn]. 

Orl. Forbear, and eat no more. 

Jaq. Why, I have eat none yet. 88 

Orl. Nor shalt not, till necessity be serv'd. 

Jaq. Of what kind should this cock come of? 

DuJce S. Art thou thus bolden'd, man, by thy dis- 
tress, 
Or else a rude despiser of good manners, 92 

That in civility thou seem'st so empty? 

Orl. You touch'd my vein at first: the thorny point 
Of bare distress hath ta'en from me the show 
Of smooth civility; yet I am inland bred 96 

And know some nurture. But forbear, I say: 
He dies that touches any of this fruit 
Till I and my affairs are answered. 

79 function : office, or employment 79-82 Cf. n. 

81 suits: fits 82 mettle: substance 

85 free: i.e., from guilt or blame 91 bolden'd: emboldened 

94 vein : disposition 96 inland ; cf. n. 
97 nurture: gentle upbringing 



As You Like It, II. vii 41 

Jaq. An you will not be answered with reason, 100 

I must die. 

Duke S. What would you have ? Your gentleness 
shall force 
More than your force move us to gentleness. 

Orl. I almost die for food; and let me have it. 104 

Duke S. Sit down and feed, and welcome to our 
„ table. 

Orl. Speak you so gently? Pardon me, I pray 
you: 
I thought that all things had been savage here, 
And therefore put I on the countenance 108 

Of stern commandment. But whate'er you are 
That in this desert inaccessible, 
Under the shade of melancholy boughs, 
Lose and neglect the creeping hours of time; 112 
If ever you have look'd on better days, 
If ever been where bells have knoll' d to church, 
If ever sat at any good man's feast, 
If ever from your eyelids wip'd a tear, 116 

And know what 'tis to pity, and be pitied, 
Let gentleness my strong enforcement be : 
In the which hope I blush, and hide my sword. 

Duke S. True is it that we have seen better 
days, 120 

And have with holy bell been knoll' d to church, 
And sat at good men's feasts, and wip'd our eyes 
Of drops that sacred pity hath engender'd; 
And therefore sit you down in gentleness 124 

And take upon command what help we have 
That to your wanting may be minister' d. 

Orl. Then but forbear your food a little while, 

100 An: if 114 knoll'd: rung, tolled 

118 enforcement: compulsion 125 upon command: oi /j/^(W«re 

126 wanting: necessity 



42 As You Like It, II. vii 

Whiles, like a doe, I go to find my fawn 128 

And give it food. There is an old poor man, 
Who after me hath many a weary step 
Limp'd in pure love: till he be first suffic'd, 
Oppress'd with two weak evils, age and hunger, 132 
I will not touch a bit. 

Duke S. Go find him out, 

And we will nothing waste till you return. 

Orl. I thank ye; and be bless'd for your good com- 
fort! [Exit.] 

Duke S. Thou seest we are not all alone un- 
happy : 136 
This wide and universal theatre 
Presents more woful pageants than the scene 
Wherein we play in. 

Jaq. All the world's a stage, 

And all the men and women merely players : 140 

They have their exits and their entrances; 
And one man in his time plays many parts, 
His acts being seven ages. At first the infant, 
Mewling and puking in the nurse's arms. 144 

And then the whining school-boy, with his satchel, 
And shining morning face, creeping like snail 
Unwillingly to school. And then the lover, 
Sighing like furnace, with a woful ballad 148 

Made to his mistress' eyebrow. Then a soldier, 
Full of strange oaths, and bearded like the pard, 
Jealous in honour, sudden and quick in quarrel, 
Seeking the bubble reputation 152 

Even in the cannon's mouth. And then the justice, 
In fair round belly with good capon lin'd, 

132 Oppress'd : oppressed as he is 139 All . . . stage; cf. n. 

143 seven ages ; cf. n. 144 Mewling: crying feebly 

150 pard: leopard 

151 Jealous: suspicious, or, apprehensive 
154 capon; cf. n. 



As You Like It, II. vii 43 

With eyes severe, and beard of formal cut, 

Full of wise saws and modern instances; 156 

And so he plays his part. The sixth age shifts 

Into the lean and slipper'd pantaloon, 

With spectacles on nose and pouch on side, 

His youthful hose well sav'd, a world too wide 160 

For his shrunk shank; and his big manly voice, 

Turning again toward childish treble, pipes 

And whistles in his sound. Last scene of all, 

That ends this strange eventful history, 164 

Is second childishness and mere oblivion, 

Sans teeth, sans eyes, sans taste, sans everything. 

Enter Orlando, with Adam. 

Duke S. Welcome. Set down your venerable bur- 
den, 
And let him feed. 

Orl. I thank you most for him. 168 

Adam. So had you need: 
I scarce can speak to thank you for myself. 

Duke S. Welcome; fall to: I will not trouble you 
As yet, to question you about your fortunes. 172 

Give us some music; and, good cousin, sing. 

Song. 

Ami. 'Blow, blow, thou winter wind, 
Thou art not so unkind 

As man's ingratitude; 176 

Thy tooth is not so keen, 
Because thou art not seen, 

Although thy breath be rude. 

156 saws: maxims modern instances: commonplace illustrations 

158 pantaloon: an enfeebled old man; cf. n. 

163 his: its 

165 mere: total 

167 venerable burden; cf. n. 



44 As You Like It, II. vii 

Heigh-ho ! sing, heigh-ho ! unto the green holly : 180 
Most friendship is feigning, most loving mere folly. 
Then heigh-ho ! the holly ! 
This life is most jolly. 

Freeze, freeze, thou bitter sky, 184 

That dost not bite so nigh 

As benefits forgot: 
Though thou the waters warp, 
Thy sting is not so sharp 188 

As friend remember'd not. 
Heigh-ho ! sing, heigh-ho ! unto the green holly : 
Most friendship is feigning, most loving mere folly. 
Then heigh-ho! the holly! 192 

This life is most jolly.' 

Duke S. If that you were the good Sir Rowland's 
son, 
As you have whisper'd faithfully you were, 
And as mine eye doth his effigies witness 196 

Most truly limn'd and living in your face, 
Be truly welcome hither: I am the duke 
That lov'd your father: the residue of your fortune 
Go to my cave and tell me. Good old man, 200 

Thou art right welcome as thy master is. 
Support him by the arm. Give me your hand, 
And let me all your fortunes understand. Exeunt. 

187 warp: i.e., by freezing or ruffling them 

195 faithfully: assuringly 196 effigies: likeness 

197 limn'd: painted, portrayed 



As You Like It, III. i 45 

ACT THIRD 

Scene One 

[A Room in the Palace] 

Enter Duke [Frederick], Lords, and Oliver. 

Duke F. Not seen him since ! Sir, sir, that cannot 
be: 
But were I not the better part made mercy, 
I should not seek an absent argument 
Of my revenge, thou present. But look to it: 4 

Find out thy brother, wheresoe'er he is ; 
Seek him with candle; bring him, dead or living, 
Within this twelvemonth, or turn thou no more 
To seek a living in our territory. 8 

Thy lands, and all things that thou dost call thine 
Worth seizure, do we seize into our hands, 
Till thou canst quit thee by thy brother's mouth 
Of what we think against thee. 12 

Oli. O that your highness knew my heart in this ! 

1 never lov'd my brother in my life. 

Duke F. More villain thou. Well, push him out of 
doors ; 
And let my officers of such a nature 16 

Make an extent upon his house and lands. 
Do this expediently and turn him going. Exeunt. 

2 made mercy: made of mercy 3 argument: subject 
6 candle; cf. n. 7 turn: return 
11 quit: acquit 17 extent; cf. n. 
18 expediently: expeditiously 



46 As You Like It, III. ii 

Scene Two 

[The Forest of Arden~\ 

Enter Orlando [with a paper~\ . 

Orl. Hang there, my verse, in witness of my love: 

And thou, thrice-crowned queen of night, survey 
With thy chaste eye, from thy pale sphere above, 

Thy huntress' name, that my full life doth sway. 4 
O Rosalind! these trees shall be my books, 

And in their barks my thoughts I'll character, 
That every eye, which in this forest looks, 

Shall see thy virtue witness'd everywhere. 8 

Run, run, Orlando: carve on every tree 
The fair, the chaste, and unexpressive she. Exit. 

Enter Corin and Touchstone. 

Cor. And how like you this shepherd's life, 
Master Touchstone? 12 

Touch. Truly, shepherd, in respect of itself, 
it is a good life ; but in respect that it is a shep- 
herd's life, it is naught. In respect that it is 
solitary, I like it very well; but in respect that 
it is private, it is a very vile life. Now, in respect 17 
it is in the fields, it pleaseth me well; but in 
respect it is not in the court, it is tedious. As 
it is a spare life, look you, it fits my humour 
well ; but as there is no more plenty in it, it goes 
much against my stomach. Hast any philosophy 
in thee, shepherd? 23 

Cor. No more but that I know the more one 
sickens the worse at ease he is ; and that he that 

2 thrice-crowned ; cf. n. 3 sphere : orbit 

4 huntress' name; cf. n. full: whole doth sway: hath under con- 
trol 6 character: inscribe 10 unexpressive: inexpressible 
15 naught: good for nothing ' 20 spare: frugal humour: wfa'm 



As You Like It, III. ii 



47 



wants money, means, and content, is without 
three good friends; that the property of rain is 
to wet, and fire to burn; that good pasture 28 
makes fat sheep, and that a great cause of the 
night is lack of the sun; that he that hath 
learned no wit by nature nor art may com- 
plain of good breeding, or comes of a very dull 

kindred. 

Touch. Such a one is a natural philosopher. 

Wast ever in court, shepherd? 

Cor. No, truly. 36 

Touch. Then thou art damned. 

Cor. Nay, I hope. 

Touch. Truly, thou art damned, like an ill- 
roasted egg, all on one side. 40 

Cor. For not being at court? Your reason. 

Touch. Why, if thou never wast at court, thou 
never sawest good manners; if thou never sawest 
good manners, then thy manners must be wick- 
ed; and wickedness is sin, and sin is damnation. 
Thou art in a parlous state, shepherd. 4G 

Cor. Not a whit, Touchstone: those that are 
good manners at the court, are as ridiculous in 
the country as the behaviour of the country is 
most mockable at the court. You told me you 
salute not at the court, but you kiss your hands; 
that courtesy would be uncleanly if courtiers 
were shepherds. 

Touch. Instance, briefly; come, instance. 

Cor. Why, we are still handling our ewes, and 
their fells, you know, are greasy. 56 

27 property: particular quality, peculiarity 

31 corrfplain of: bewail the lack of } 

44 manners: here in sense of morals 

46 parlous: contraction of 'perilous f u ft eeces 

50 mockable: deserving ridicule 



48 As You Like It, HI. ii 

Touch. Why, do not your courtier's hands 
sweat? and is not the grease of a mutton as 
wholesome as the sweat of a man? Shallow, 
shallow. A better instance, I say; come. 60 

Cor. Besides, our hands are hard. 

Touch. Your lips will feel them the sooner: 
shallow again. A more sounder instance; come. 

Cor. And they are often tarred over with the 
surgery of our sheep; and would you have us 
kiss tar? The courtier's hands are perfumed 
with civet. 67 

Touch. Most shallow man ! Thou worms-meat, 
in respect of a good piece of flesh, indeed ! Learn 
of the wise, and perpend: civet is of a baser 
birth than tar, the very uncleanly flux of a cat. 
Mend the instance, shepherd. 72 

Cor. You have too courtly a wit for me: I'll 
rest. 

Touch. Wilt thou rest damned? God help 
thee, shallow man ! God make incision in thee ! 
thou art raw. 77 

Cor. Sir, I am a true labourer: I earn that I 
eat, get that I wear, owe no man hate, envy no 
man's happiness, glad of other men's good, con- 
tent with my harm; and the greatest of my pride 
is to see my ewes graze and my lambs suck. 82 

Touch. That is another simple sin in you, to 
bring the ewes and the rams together, and to 
offer to get your living by the copulation of 
cattle; to be bawd to a bell-wether, and to be- 

67 civet: perfume derived from the civet cat 68 worms-meat; cf. n. 

69 in respect of: in comparison with 70 perpend: consider 

71 flux: discharge 

76 incision : i.e., to cure thee of thy simpleness; cf. n. 

77 raw: untrained 

79 owe . . . hate: have hate toward no man 85 offer: presume 

86 bell-wether: leading sheep of a Hock on whose neck a bell is hung 



As You Like It, III. ii 49 

tray a she-lamb of a twelvemonth to a crooked- 87 
pated, old, cuckoldy ram, out of all reasonable 
match. If thou be'st not damned for this, the 
devil himself will have no shepherds: I cannot 
see else how thou shouldst 'scape. 

Cor. Here comes young Master Ganymede, 
my new mistress's brother. 93 

- „ Enter Rosalind [reading a paper]. 

Ros. 'From the east to western Ind, 
No jewel is like Rosalind. 
Her worth, being mounted on the wind, 96 
Through all the world bears Hosalind. 
All the pictures fairest lin'd 
Are but black to Rosalind. 
Let no face be kept in mind, 100 

But the fair of Rosalind.' 

Touch. I'll rime you so, eight years together, 
dinners and suppers and sleeping hours ex- 
cepted: it is the right butter-women's rank to 
market. 105 

Ros. Out, fool ! 

Touch. For a taste: — 

'If a hart do lack a hind, 108 

Let him seek out Rosalind. 
If the cat will after kind, 
So be sure will Rosalind. 

Winter garments must be lin'd, 112 

So must slender Rosalind. 
They that reap must sheaf and bind, 

87 crooked-pated : crooked-headed; i.e., in reference to the ram's 
horns 

88 cuckoldy ; cf. n. out . . . match : quite unsuitable for her 

98 lin'd: drawn 104 butter-women's rank; cf. n. 

107 taste: i.e., sample of skill 

110 after kind: follow the dictates of nature 



so As You Like It, III. ii 

Then to cart with Rosalind. 

Sweetest nut hath sourest rind, lie 

Such a nut is Rosalind. 

He that sweetest rose will find 

Must find love's prick and Rosalind.' 

This is the very false gallop of verses: why do 
you infect yourself with them? 121 

Ros. Peace! you dull fool: I found them on 
a tree. 

Touch. Truly, the tree yields bad fruit. 124 

Ros. I'll graff it with you, and then I shall 
graff it with a medlar : then it will be the earliest 
fruit i' the country; for you'll be rotten ere you 
be half ripe, and that's the right virtue of the 
medlar. 129 

Touch. You have said; but whether wisely or 
no, let the forest judge. 

Enter Celia with a writing. 

Ros. Peace! 132 

Here comes my sister, reading: stand aside. 

Cel. 'Why should this a desert be? 

For it is unpeopled? No; 
Tongues I'll hang on every tree, 136 

That shall civil sayings show. 
Some, how brief the life of man 

Runs his erring pilgrimage, 
That the stretching of a span 140 

Buckles in his sum of age; 
Some, of violated vows 

'Twixt the souls of friend and friend: 

115 cart: a pun on farmer's cart which bore the harvest to market 
and the sheriff's cart on -which female offenders were publicly 
disgraced 121 infect: contaminate (?) 125 graff : graft 

126 medlar: a fruit, with quibble on 'meddler' 137 civil sayings; cf. n. 

139 erring: wandering 140 span; cf. n. 141 Buckles in : limits 



As You Like It, III. ii si 

But upon the fairest boughs, 144 

Or at every sentence' end, 
Will I Rosalinda write; 

Teaching all that read to know 
The quintessence of every sprite 148 

Heaven would in little show. 
Therefore Heaven Nature charg'd 

That one body should be fill'd 
With all graces wide enlarg'd: 152 

Nature presently distill'd 
Helen's cheek, but not her heart, 

Cleopatra's majesty, 
Atalanta's better part, 156 

Sad Lucretia's modesty. 
Thus Rosalind of many parts 

By heavenly synod was devis'd 
Of many faces, eyes, and hearts, 160 

To have the touches dearest priz'd. 
Heaven would that she these gifts should have, 
And I to live and die her slave.' 

Ros. O most gentle Jupiter ! what tedious 164 
homily of love have you wearied your parishion- 
ers withal, and never cried, 'Have patience, good 
people !' 

Cel. How now ! back, friends ! Shepherd, go 
off a little: go with him, sirrah. 169 

Touch. Come, shepherd, let us make an ho- 
nourable retreat; though not with bag and bag- 
gage, yet with scrip and scrippage. 172 
[Exeunt Covin and Touchstone.] 

Cel. Didst thou hear these verses? 

148 quintessence; cf. n. 149 in little: in miniature (?) ; cf. n. 

156 Atalanta's better part: i.e., her athletic grace; cf. n. 
159 heavenly synod: assembly of the gods 161 touches: features 

164 Jupiter; cf. n. 166 withal: with 

172 scrip: a shepherd's pouch scrippage: its contents 



52 As You Like It, III. ii 

Ros. O, yes, I heard them all, and more too; 
for some of them had in them more feet than 
the verses would bear. 176 

Cel. That's no matter: the feet might bear 
the verses. 

Ros. Ay, but the feet were lame, and could 
not bear themselves without the verse, and 
therefore stood lamely in the verse. 181 

Cel. But didst thou hear without wondering 
how thy name should be hanged and carved 
upon these trees ? 184 

Ros. I was seven of the nine days out of the 
wonder before you came; for look here what I 
found on a palm-tree: I was never so be-rimed 
since Pythagoras' time, that I was an Irish rat, 
which I can hardly remember. 189 

Cel. Trow you who hath done this ? 

Ros. Is it a man? 

Cel. And a chain, that you once wore, about 
his neck. Change you colour? 193 

Ros. I prithee, who? 

Cel. O Lord, Lord! it is a hard matter for 
friends to meet; but mountains may be removed 
with earthquakes, and so encounter. 197 

Ros. Nay, but who is it ? 

Cel. Is it possible? 

Ros. Nay, I prithee now, with most petitionary 
vehemence, tell me who it is. 201 

Cel. O wonderful, wonderful, and most won- 
derful wonderful ! and yet again wonderful ! and 
after that, out of all whooping ! 204 

185 seven . . . nine; cf. n. 187 palm-tree; cf. «. 

188 Pythagoras' . . . rat; cf. n. 

190 Trow: know 

195 hard . . . meet; cf. n. 

204 out . . . whooping: beyond all shouting of astonishment 



As You Like It, III. ii 53 

Ros. Good my complexion ! dost thou think, 
though I am caparison'd like a man, I have a 
doublet and hose in my disposition? One inch 
of delay more is a South-sea of discovery; I 
prithee, tell me who is it quickly, and speak 
apace. I would thou couldst stammer, that thou 
mightst pour this concealed man out of thy 
- mouth, as wine comes out of a narrow-mouth'd 
bottle; either too much at once, or none at all. 
I prithee, take the cork out of thy mouth, that 
I may drink thy tidings. 

Cel. So you may put a man in your belly. 216 

Ros. Is he of God's making? What manner 
of man? Is his head worth a hat, or his chin 
worth a beard? 

Cel. Nay, he hath but a little beard. 220 

Ros. Why, God will send more, if the man 
will be thankful. Let me stay the growth of his 
beard, if thou delay me not the knowledge of his 
chin. 224 

Cel. It is young Orlando, that tripped up the 
wrestler's heels and your heart both in an instant. 

Ros. Nay, but the devil take mocking: speak, 
sad brow and true maid. 228 

Cel. I' faith, coz, 'tis he. 

Ros. Orlando? 

Cel. Orlando. 

Ros. Alas the day! what shall I do with my 
doublet and hose ? What did he when thou 233 
sawest him? What said he? How looked he? 

205 Good my complexion ; cf. n. 

207 doublet and hose: i.e., typical male attire; cf. n. One . . . dis- 

covery; cf. n. 
217 God's making; cf. n. 
222 stay: wait for 

228 sad . . . maid: i.e., in earnest and as you are a true maiden 

229 I' faith: on my faith 



54 As You Like It, III. ii 

Wherein went he ? What makes he here ? H Did 
he ask for me ? Where remains he ? How parted 
he with thee, and when shalt thou see him 
again? Answer me in one word. 238 

Cel.. You must borrow me Gargantua's mouth 
first: 'tis a word too great for any mouth of this 
age's size. To say ay and no to these particulars 
is more than to answer in a catechism. 242 

Ros. But doth he know that I am in this 
forest and in man's apparel ? Looks he as freshly 
as he did the day he wrestled? 245 

Cel. It is as easy to count atomies as to 
resolve the propositions of a lover; but take a 
taste of my finding him, and relish it with good 
observance. I found him under a tree, like a 
dropped acorn. 

Ros. It may well be called Jove's tree, when 
it drops forth such fruit. 252 

Cel. Give me audience, good madam. 

Ros. Proceed. 

Cel. There lay he, stretch'd along like a 
wounded knight. 256 

Ros. Though it be pity to see such a sight, 
it well becomes the ground. 

Cel. Cry 'holla !' to thy tongue, I . prithee ; it 
curvets unseasonably. He was furnish'd like a 
hunter. 261 

Ros. O, ominous ! he comes to kill my heart. 

235 Wherein went he: i.e., how zvas he dressed makes: does 

239 Gargantua's mouth; cf. n. 

241 ay . . . catechism; cf. n. 

244 freshly: bloomingly 246 atomies: atoms, motes 

247 resolve: answer logically propositions: questions 

248 relish: appreciate good observance: respectful attention 

251 Jove's tree; cf. n. 253 audience: hearing, attention 

258 becomes: adorns 259 'holla': stop 

260 curvets unseasonably: prances ill-timedly furnish'd: dressed 

262 heart: with quibble on 'hart' 



As You Like It, III. ii 55 

Cel. * 1 would sing my song without a burthen : 
thou bringest me out of tune. 264 

Ros. Do you not know I am a woman? when 
I think, I must speak. Sweet, say on. 

Enter Orlando and Jaques. 

Cel. You bring me out. Soft! comes he not 
here? 268 

Ros. 'Tis he: slink by, and note him. 

Jaq. I thank you for your company; but, 
good faith, I had as lief have been myself alone. 

Orl. And so had I ; but yet, for fashion's sake, 
I thank you too for your society. 273 

Jaq. God be wi' you: let's meet as little as 
we can. 

Orl. I do desire we may be better strangers. 

Jaq. I pray you, mar no more trees with 
writing love-songs in their barks. 

Orl. I pray yoii mar no moe of my verses 
with reading them ill-favouredly. 280 

Jaq. Rosalind is your love's name? 

Orl. Yes, just. 

Jaq. I do not like her name. 

Orl. There was no thought of pleasing you 
when she was christened. 285 

Jaq. What stature is she of? 

Orl. Just as high as my heart. 

Jaq. You are full of pretty answers. Have 
you not been acquainted with goldsmiths' wives, 289 
and conn'd them out of rings ? 

263 burthen : refrain, bass, or undersong 

264 bringest: puttest 269 by: aside 
271 myself alone: all by myself 279 moe: more 
280 ill-favouredly: badly 282 just: exactly that 

289 goldsmiths' wives . . . rings; cf. n. 

290 conn'd: learned by heart 



56 As You Like It, III. ii 

Orl. Not so; but I answer you. right painted 
cloth, from whence you have studied your ques- 
tions. 293 

Jaq. You have a nimble wit: I think 'twas 
made of Atalanta's heels. Will you sit down 
with me? and we two will rail against our mis- 
tress the world, and all our misery. 297 

Orl. I will chide no breather in the world but 
myself, against whom I know most faults. 

Jaq. The worst fault you have is to be in 
love. 

Orl. 'Tis a fault I will not change for your 
best virtue. I am weary of you. 

Jaq. By my troth, I was seeking for a fool 
when I found you. 305 

Orl. He is drowned in the brook: look but in, 
and you shall see him. 

Jaq. There I shall see mine own figure. 308 

Orl. Which I take to be either a fool or a 
cipher. 

Jaq. I'll tarry no longer with you. Farewell, 
good Signior Love. 312 

Orl. I am glad of your departure. Adieu, 
good Monsieur Melancholy. [Exit Jaques.~\ 

Ros. I will speak to him like a saucy lackey, 
and under that habit play the knave with him. 
Do you hear, forester? 317 

Orl. Very well: what would you? 

Ros. I pray you, what is 't o'clock? 

Orl. You should ask me, what time o' day; 
there's no clock in the forest. 321 

Ros. Then there is no true lover in the forest; 
else sighing every minute and groaning every 

291 painted cloth; cf. n. 298 breather: living creature 

316 habit: garb 



As You Like It, HI. ii 67 

hour would detect the lazy foot of Time as well 
as a clock. 325 

Orl. And why not the swift foot of Time? 
had not that been as proper ? 

Ros. By no means, sir. Time travels in 
divers paces with divers persons. I'll tell you 
who Time ambles withal, who Time trots withal, 
who Time gallops withal, and who he stands 
still withal. 332 

Orl. I prithee, who doth he trot withal? 

Ros. Marry, he trots hard with a young maid 
between the contract of her marriage and the 
day it is solemnized; if the interim be but a 
se'nnight, Time's pace is so hard that it seems 
the length of seven year. 338 

Orl. Who ambles Time withal? 

Ros. With a priest that lacks Latin, and a 
rich man that hath not the gout; for the one 
sleeps easily because he cannot study, and the 
other lives merrily because he feels no pain; 
the one lacking the burden of lean and waste- 
ful learning, the other knowing no burden 
of heavy tedious penury. These Time ambles 
withal. 

Orl. Who doth he gallop withal? 348 

Ros. With a thief to the gallows; for though 
he go as softly as foot can fall he thinks himself 
too soon there. 

Orl. Who stays it still withal? 352 

Ros. With lawyers in the vacation; for they 
sleep between term and term, and then they per- 
ceive not how Time moves. 

Orl. Where dwell you, pretty youth? 356 

334 hard: uneasily 337 se'nnight: seven-night, week 

344 wasteful: consuming 354 term: period of court sessions 



«8 As You Like It, III. ii 

Ros. With this shepherdess, my sister; here 
in the skirts of the forest, like fringe upon a 
petticoat. 

Orl. Are you native of this place? 360 

Ros. As the cony, that you see dwell where 
she is kindled. 

Orl. Your accent is something finer than you 
could purchase in so removed a dwelling. 364 

Ros. I have been told so of many: but indeed 
an old religious uncle of mine taught me to 
speak, who was in his youth an inland man; 
one that knew courtship too well, for there he 368 
fell in love. I have heard him read many 
lectures against it; and I thank God, I am not 
a woman, to be touched with so many giddy 
offences as he hath generally taxed their whole 
sex withal. 373 

Orl. Can you remember any of the principal 
evils that he laid to the charge of women? 

Ros. There were none principal; they were 
all like one another as half-pence are; every one 
fault seeming monstrous till his fellow fault 
came to match it. 

Orl. I prithee, recount some of them. 380 

Ros. No, I will not cast away my physic, but 
on those that are sick. There is a man haunts 
the forest, that abuses our young plants with 
carving 'Rosalind' on their barks; hangs odes 
upon hawthorns, and elegies on brambles; all, 
forsooth, deifying the name of Rosalind: if I 
could meet that fancy-monger, I would give him 

361 cony: rabbit 362 kindled : brought forth 

364 purchase : acquire removed : remote, secluded 

366 religious: i.e., belonging to a religious order (?) 

368 courtship: courtliness of manners, with quibble on 'wooing' 

370 lectures : admonitions 387 fancy-monger : dealer in love 



As You Like It, III. ii 59 

some good counsel, for he seems to have the 
quotidian of love upon him. 389 

Orl. I am he that is so love-shaked. I pray 
you, tell me your remedy. 

Ros. There is none of my uncle's marks upon 
you: he taught me how to know a man in love; 
in which cage of rushes I am sure you are not 
prisoner. 

Orl. What were his marks ? 396 

Ros. A lean cheek, which you have not; a 
blue eye and sunken, which you have not; an 
unquestionable spirit, which you have not; a 
beard neglected, which you have not: but I 
pardon you for that, for, simply, your having in 
beard is a younger brother's revenue. Then, 
your hose should be ungartered, your bonnet 403 
unhanded, your sleeve unbuttoned, your shoe 
untied, and everything about you demonstrating 
a careless desolation. But you are no such man: 
you are rather point-device in your accoutre- 
ments as loving yourself than seeming the lover 
of any other. 409 

Orl. Fair youth, I would I could make thee 
believe I love. 

Ros. Me believe it ! you may as soon make her 
that you love believe it; which, I warrant, she is 
apter to do than to confess she does; that is 
one of the points in the which women still give 
the lie to their consciences. But, in good sooth, 

389 quotidian: an intermittent daily fever; cf. n. 
394 cage of rushes: i.e., ineffectual prison 

398 blue eye: i.e., with a dark circle about the eye 

399 unquestionable: unwilling to talk 
401 having: possessions 

403 ungartered . . . untied : i.e., the signs of a disconsolate lover 

404 unbanded: without a hatband 
407 point-device: extremely precise 



60 As You Like It, III. ii 

are you he that hangs the verses on the trees, 
wherein Rosalind is so admired? 418 

Orl. I swear to thee, youth, by the white 
hand of Rosalind, I am that he, that unfor- 
tunate he. 

Ros. But are you so much in love as your 
rimes speak? 

Orl. Neither rime nor reason can express 
how much. 425 

Ros. Love is merely a madness, and, I tell 
you, deserves as well a dark house and a whip 
as madmen do; and the reason why they are 
not so punished and cured is, that the lunacy is 
so ordinary that the whippers are in love too. 
Yet I profess curing it by counsel. 

Orl. Did you ever cure any so? 432 

Ros. Yes, one; and in this manner. He was 
to imagine me his love, his mistress; and I set 
him every day to woo me: at which time would 
I, being but a moonish youth, grieve, be effemi- 
nate, changeable, longing and liking; proud, 
fantastical, apish, shallow, inconstant, full of 438 
tears, full of smiles, for every passion something, 
and for no passion truly anything, as boys and 
women are, for the most part, cattle of this 
colour; would now like him, now loathe him; 
then entertain him, then forswear him; now 
weep for him, then spit at him; that I drave my 
suitor from his mad humour of love to a living 445 
humour of madness, which was, to forswear the 
full stream of the world, and to live in a nook 

427 dark . . . whip; cf. n. 431 profess: claim to have knowledge of 

434 set him: i.e., as a task 436 moonish : variable 

438 fantastical: capricious apish: imitative 

443 entertain: receive forswear: renounce 

445 living . . . madness: humor of actual madness 



As You Like It, III. in 61 

merely monastic. And thus I cured him; and 

this way will I take upon me to wash your liver 

as clean as a sound sheep's heart, that there 

shall not be one spot of love in 't. 

Orl. I would not be cured, youth. 452 

Ros. I would cure you, if you would but call 

me Rosalind, and come every day to my cote 

and woo me. 

Orl. Now, by the faith of my love, I will: tell 

me where it is. 457 

R os. Go with me to it and I'll show it you; 

and by the way you shall tell me where in the 

forest you live. Will you go ? 

Orl. With all my heart, good youth. 461 

Ros. Nay, you must call me Rosalind. Come, 

sister, will you go? Exeunt. 

Scene Three 
[Another Part of the Forest] 

Enter Touchstone, Audrey, and Jaques. 

Touch. Come apace, good Audrey: I will 
fetch up your goats, Audrey. And how, Audrey ? 
am I the man yet? doth my simple feature con- 
tent you? 4 

Aud. Your features ! Lord warrant us ! what 
features ? 

Touch. I am here with thee and thy goats, 
as the most capricious poet, honest Ovid, was 
among the Goths. 9 

Jaq. [Aside.] O knowledge ill-inhabited, worse 
than Jove in a thatch'd house! 

449 liver; cf. n. 5 features; cf. n. 8 capricious . . . Goths; ef. n. 
10 ill-inhabited: ill-lodged 11 Jove in a thatch'd house; cf. n. 



62 As You Like It, III. Hi 

Touch. When a man's verses cannot be under- 
stood, nor a man's good wit seconded with the 
forward child Understanding, it strikes a man 
more dead than a great reckoning in a little 
room. Truly, I would the gods had made thee 
poetical. 17 

Aud. I do not know what 'poetical' is. Is 
it honest in deed and word? Is it a true 
thing ? 20 

Touch. No, truly, for the truest poetry is the 
most feigning; and lovers are given to poetry, 
and what they swear in poetry may be said as 
lovers they do feign. 24 

Aud. Do you wish then that the gods had 
made me poetical? 

Touch. I do, truly; for thou swearest to me 
thou art honest: now, if thou wert a poet, I 
might have some hope thou didst feign. 29 

Aud. Would you not have me honest? 

Touch. No, truly, unless thou wert hard- 
favour'd; for honesty coupled to beauty is to 
have honey a sauce to sugar. 33 

Jaq. [Aside.~\ A material fool. 

Aud. Well, I am not fair, and therefore I 
pray the gods make me honest. 36 

Touch. Truly, and to cast away honesty upon 
a foul slut were to put good meat into an un- 
clean dish. 

Aud. I am not a slut, though I thank the gods 
I am foul. 41 

Touch. Well, praised be the gods for thy foul- 
ness ! sluttishness may come hereafter. But be it 

14 strikes . . . room; cf. n. 22 feigning: imaginative 

24 feign: relate in fiction, or lying 34 material: full of sense 

41 foul: ill-looking 



As You Like It, III. Hi 63 

as it may be, I will marry thee; and to that end 
I have been with Sir Oliver Martext, the vicar 
of the next village, who hath promised to meet 
me in this place of the forest, and to couple us. 
Jaq. [Aside.'] I would fain see this meeting. 
Aud. Well, the gods give us joy! 49 

Touch. Amen. A man may, if he were of a 
fearful heart, stagger in this attempt; for here 
we have no temple but the wood, no assembly 
but horn-beasts. But what though? Courage! 
As horns are odious, they are necessary. It is 
3aid, 'many a man knows no end of his goods' : 55 
right; many a man has good horns, and knows 
no end of them. Well, that is the dowry of his 
wife; 'tis none of his own getting. Horns? 
Even so. Poor men alone? No, no; the noblest 
deer hath them as huge as the rascal. Is the 60 
single man therefore blessed? No: as a walled 
town is more worthier than a village, so is the 
forehead of a married man more honourable 
than the bare brow of a bachelor; and by how 
much defence is better than no skill, by so much 
is a horn more precious than to want. 

Enter Sir Oliver Martext. 

Here comes Sir Oliver. — Sir Oliver Martext, 67 
you are well met: will you dispatch us here 
under this tree, or shall we go with you to your 
chapel ? 

Sir OIL Is there none here to give the 
woman ? 72 

49 gods . . . joy; cf. n. 51 stagger: hesitate 

53 horn-beasts: i.e., deer 60 rascal: young or inferior deer of a herd 
65 defence: skill in swordplay 



64 As You Like It, III. in 

Touch. I will not take her on gift of any 
man. 

Sir OIL Truly, she must be given, or the mar- 
riage is not lawful. 76 

Jaq. [Coming forward.] Proceed, proceed: 
I'll give her. 

Touch. Good even, good Master What-ye- 
call 't : how do you, sir ? You are very well met : 
God 'ild you for your last company: I am very 
glad to see you: even a toy in hand here, sir: 
nay, pray be covered. 

Jaq. Will you be married, motley? 84 

Touch. As the ox hath his bow, sir, the horse 
his curb, and the falcon her bells, so man hath 
his desires; and as pigeons bill, so wedlock 
would be nibbling. 88 

Jaq. And will you, being a man of your 
breeding, be married under a bush, like a 
beggar? Get you to church, and have a good 
priest that can tell you what marriage is: this 
fellow will but join you together as they join 
wainscot; then one of you will prove a shrunk 
panel, and like green timber, warp, warp. 95 

Touch. [Aside.] I am not in the mind but I 
were better to be married of him than of an- 
other: for he is not like to marry me well, and 
not being well married, it will be a good excuse 
for me hereafter to leave my wife. 109 

Jaq. Go thou with me, and let me counsel thee. 
Touch. Come, sweet Audrey: 
We must be married, or we must live in bawdry. 
Farewell, good Master Oliver: not 104 

81 God 'ild : God reward 82 toy: trifling matter 

85 bow: yoke 

103 bawdry: immorality 



As You Like It, III. iv 65 

'O sweet Oliver! 

O brave Oliver ! 
Leave me not behind thee:' 
but, — 108 

'Wind away, 

Begone, I say, 
I will not to wedding with thee.' 

[Exeunt Jaques, Touchstone, and Audrey.] 
Sir Oli. 'Tis no matter: ne'er a fantastical 
knave of them all shall flout me out of my call- 
ing. [Exit.'] 

Scene Four 
[Another Part of the Forest] 

Enter Rosalind and Celia. 

Ros. Never talk to me: I will weep. 

Cel. Do, I prithee; but yet have the grace to 
consider that tears do not become a man. 

Ros. But have I not cause to weep? 4 

Cel. As good cause as one would desire; 
therefore weep. 

Ros. His very hair is of the dissembling colour. 

Cel. Something browner than Judas's; marry, 
his kisses are Judas's own children. 9 

Ros. I' faith, his hair is of a good colour. 

Cel. An excellent colour: your chestnut was 
ever the only colour. 12 

Ros. And his kissing is as full of sanctity as 
the touch of holy bread. 

Cel. He hath bought a pair of cast lips of 

105 O sweet Oliver ; cf. n. 109 Wind away : go away 

7 dissembling: false; cf. n. 8 Judas's; cf. n. 
11 your chestnut; cf. n. 
15 cast: cast off, possibly a quibble for 'chaste' 



66 As You Like It, HI. iv 

Diana: a nun of winter's sisterhood kisses not 
more religiously ; the very ice of chastity is in them. 17 

Ros. But why did he swear he would come 
this morning, and comes not? 

Cel. Nay, certainly, there is no truth in him. 

Ros. Do you think so? 21 

Cel. Yes: I think Jhe is not a pick-purse nor a 
horse-stealer ; but for his verity in love, I do 
think him as concave as a covered goblet or a 
worm-eaten nut. 25 

Ros. Not true in love? 

Cel. Yes, when he is in; but I think he is 
not in. 28 

Ros. You have heard him swear downright 
he was. 

Cel. 'Was' is not 'is': besides, the oath of a 
lover is no stronger than the word of a tapster; 
they are both the confirmers of false reckonings. 
He attends here in the forest on the duke your 
father. 35 

Ros. I met the duke yesterday and had much 
question with him. He asked me of what 
parentage I was; I told him, of as good as he; 
so he laughed, and let me go. But what talk we 
of fathers, when there is such a man as Orlando ? 40 

Cel. O, that's a brave man ! he writes brave 
verses, speaks brave words, swears brave oaths, 
and breaks them bravely, quite traverse, athwart 
the heart of his lover; as a puisny tilter, that 
spurs his horse but on one side, breaks his staff 
like a noble goose. But all's brave that youth 
mounts and folly guides. Who comes here? 

Enter Corin. 

16 winter's sisterhood; cf. n. 24 concave: hollow 

41 brave: fine 43 traverse: across; cf. n. 44 puisny : paltry 



As You Like It, III. v 67 

Cor. Mistress and master, you have oft in- 
quir'd 48 

After the shepherd that complain'd of love, 
Who you saw sitting by me on the turf, 
Praising the proud disdainful shepherdess 
That was his mistress. 

Cel. Well, and what of him? 52 

Cor. If you will see a pageant truly play'd, 
Between the pale complexion of true love 
And the red glow of scorn and proud disdain, 
Go hence a little, and I shall conduct you, 56 

If you will mark it. 

Ros. O ! come, let us remove : 

The sight of lovers feedeth those in love. 
Bring us to this sight, and you shall say 
I'll prove a busy actor in their play. Exeunt. 

Scene Five 
[Another Part of the Forest'] 

Enter Silvius and Phebe. 

Sil. Sweet Phebe, do not scorn me; do not, Phebe: 
Say that you love me not, but say not so 
In bitterness. The common executioner, 
Whose heart the accustom' d sight of death makes 
hard, 4 

Falls not the axe upon the humbled neck 
But first begs pardon: will you sterner be 
Than he that dies and lives by bloody drops ? 

Enter Rosalind, Celia, and Corin [behind]. 

Phe. I would not be thy executioner: 8 

I fly thee, for I would not injure thee. 

5 Falls : lets fall 7 dies and lives; cf. n. 




68 As You Like It, III. v 

Thou tell'st me there is murder in mine eye: 
'Tis pretty, sure, and very probable, 
That eyes, that are the frail'st and softest things, 12 
Who shut their coward gates on atomies, 
Should be call'd tyrants, butchers, murderers ! 
Now I do frown on thee with all my heart; 
And, if mine eyes can wound, now let them kilj^ 
thee ; 16 

Now counterfeit to swound; why now fall down; 
Or, if thou canst not, O! for shame, for shame, 
Lie not, to say mine eyes are murderers. 
Now show the wound mine eye hath made in thee ; 20 
Scratch thee but with a pin, and there remains 
Some scar of it; lean but upon a rush, 
The cicatrice and capable impressure 
Thy palm some moment keeps ; but now mine eyes, 24 
Which I have darted at thee, hurt thee not, 
Nor, I am sure, there is no force in eyes 
_Tliat can do hurt. \i Q % f^ ( - 

Sil. O dear Phebe, 

If ever, — as that ever may be near, — 28 

You meet in some fresh cheek the power of fancy, 
Then shall you know the wounds invisible 
That love's keen arrows make. 

Phe. But, till that time 

Come not thou near me; and, when that time 
comes, 32 

Afflict me with thy mocks, pity me not; 
As, till that time I shall not pity thee. 

Ros. [Advancing.] And why, I pray you? Who 
might be your mother, 
That you insult, exult, and all at once, 36 

11 sure: surely 17 swound : swoon 

23 cicatrice: scar, here 'mark' capable impressure: sensible (i.e., re~ 

ceivable) impression 29 fancy: love 



As You Like It, III, v 69 

Over the wretched? What though you have -•» 

beauty, — 
As by my faith, I see no more in you 
Than without candle may go dark to bed, — 
Must you be therefore proud and pitiless? 40 

Why, what means this ? Why do you look on me ? 
I see no more in you than i n the ordinary ,,v 7 mm C 
Of nature's sale-work. 1 Ud smy little life ! 
I think she means to tangle my eyes too. 44 

No, faith, proud mistress, hope not after it: 
'Tis not your inky brows, your black silk hair, 
Your bugle eyeballs, nor your cheek of cream, 
That can entame my spirits to your worship. 48 

You foolish shepherd, wherefore do you follow her, 
Like foggy south puffing with wind and rain? 
You are a thousand t imes a properer man 
Than she a woman: ps such fools as you 52 

That make the world full of ill-f avour'd children : 
'Tis not her glass, but you, that flatters her : L. ^ 

And out of you she sees herself more proper *y> s *«* v 
TJjan any of her lineaments can show her. 56 

/But, mistress, know yourself: down on your knees, 
' And thank heaven, fasting, for a good man's love: 
For I must tell you friendly in your ear, 
Sell when you can; you are not for all markets. 60 
Cry the man mercy; love him; take his offer: 
Eou-L is mo »t-feul,Hbein-g- j f o u l t o be a sreoff er: t^/ 

50 take her to thee, shepherd. Fare you well. 

Phe. Sweet youth, I pray you, chide a year to- 
gether : 64 

i 

39 dark: without light; cf. n. 

43 sale-work: ready-made work, {hence) work not of the best quality 

Od's: God save 44 tangle: entangle 

45 after it: i.e., to accomplish this 47 bugle: black; cf. n. 

48 entame: subdue 50 south: south wind 

51 properer: better looking 61 Cry . . . mercy : beg for mercy 
62 Foul . . . scoffer; cf. n. 64 together: on end 



70 As You Like It, III. v 

I had rather hear you chide than this man woo. 
Ros. He's fallen in love with her foulness, and 
she'll fall in love with my anger. If it be so, as 
fast as she answers thee with frowning looks, I'll 
sauce her with bitter words. Why look you so 
upon me? 70 

y^i^> For no ill will I bear you. 
Ros. I pray you, do not fall in love with me, 

For I am falser than vows made in wine: 

Besides, I like you not. If you will know my 
house, 74 

'Tis at the tuft of olives here hard by. 

Will you go, sister ? Shepherd, ply her hard. 

Come, sister. Shepherdess, look on him better, 

And be not proud: though all the world could 
see, 78 

None could be so abused in sight as he. , 

[Exeunt Rosalind, Celia, and Corin.~\ 
Phe. Dead shepherd, now I find thy saw of might: 
'Who ever lov'd that lov'd not "at first sight?' 82 

Sil. Sweet Phebe, — 

Phe. Ha! what sayst thou, Silvius? 

Sil. Sweet Phebe, pity me. 
Phe. Why, I am sorry for thee, gentle Silvius. 
Sil. Wherever sorrow is, relief would be: 86 

^V— — — m— .i - l ■ I ■ ~"^""*****"!r "■■"■'I Mil I ... 

If you do sorrow at my grief in love, 
By giving love your sorrow and my grief 
Were both extermin'd. 

Phe. Thou hast my love : is not that neighbourly ? 

Sil. I would have you. 

Phe. Why, that were covetousness. 

Silvius, the time was that I hated thee ; 92 

75 tuft: clump 79 abus'd in sight: deceived by eyesight 

81 Dead shepherd; cf. n. 89 extermin'd: exterminated 



As You Like It, III. v 71 

And yet it is not that I bear thee love: 

But since that thou canst talk of love so well, 

Thy company, which erst was irksome to me, 

I will endure, and I'll employ thee ton • ^~ 96 

But do not look for further recompense 

Than thine own gladness that thou art employ'd. 

Sil. So holy and so perfect is my love, 
And I in such a poverty of grace, 100 

That I shall think it a most plenteous crop 
To glean the broken ears after the man 
That the main harvest reaps : loose now and then 
A scatter'd smile, and that I'll live upon. 104 

PTie. Know'st thou the youth that spoke to me ere- 
while ? 

Sil. Not very well, but I have met him oft; 
And he hath bought the cottage and the bounds 
That the old carlot once was master of. 108 

Phe. Think not I love him, though I ask for him. 
'Tis but a peevish boy; yet he talks well; 
But what care I for words? yet words do well, 
When he that speaks them pleases those that hear. 112 
It is a pretty youth : not very pretty : 
But, sure, he's proud; and yet his pride becomes him: 
He'll make a proper man: the best thing in him 
Is his complexion; and faster than his tongue 116 
Did make offence his eye did heal it up. 
He is not very tall ; yet for his years he's tall : 
His leg is but so so ; and yet 'tis well : 
There was a pretty redness in his lip, 120 

A little riper and more lusty red 

Than that mix'd in his cheek; 'twas just the differ- 
ence 

93 yet . . . not: i.e., the time is not yet 

100 grace: good esteem, favor 108 carlot: peasant 

110 peevish: captious 121 lusty: vigorous 



72 As You Like It, IF. t 

Betwixt the constant red and mingled damask. 

There be some women, Silvius, had they mark'd 
him 124 

In parcels as I did, wou ld_h ave gone near 

To fall in love with him;[but, for my part, 

JL love him not nor hate him not ; and yet 
|Have more cause to hate him than to love him: 128 
~ Jj[pr what had he to do to chide at me ? 

He said mine eyes were black and my hair black; 
^nd, now I am remember'd, scorn'd at me. 

1 marvel why I answer'd not again: 182 

Bu t that's all one; omittance is no quittance. 

I'll write to him a very taunting letter, 

And thou shalt bear it : wilt thou, Silvius ? 
Sil. Phebe, with all my heart. 
Phe. I'll write it straight; 136 

The matter's in my head and in my heart: 

I will be bitter with him and passing short. 

Go with me, Silvius. Exeunt. 



ACT FOURTH 

Scene One 
[The Forest of Arden\ 

Enter Rosalind, and Celia, and Jaques. 

Jaq. I prithee, pretty youth, let me be better 
acquainted with thee. 

Ros. They say you are a melancholy fellow. 

123 constant: uniform mingled damask: mixed red and white; cf. n. 
125 In parcels: in detail 131 am remember'd: recall 

133 omittance is no quittance: omission is no discharge {proverbial) 
138 passing short: extremely curt 



As You Like It, IV. i 7S 

Jaq. I am so ; I do love it better than laugh- 
ing. 5 

Ros. Those that are in extremity of either are 
abominable fellows, and betray themselves to 
every modern censure worse than drunkards. 8 

Jaq. Why, 'tis good to be sad and say nothing. 

Ros. Why, then, 'tis good to be a post. 

Jaq. I have neither the scholar's melancholy, 
which is emulation; nor the musician's, which is 
fantastical; nor the courtier's, which is proud; 
nor the soldier's, which is ambitious; nor the 
lawyer's, which is politic; nor the lady's, which is 15 
nice; nor the lover's, which is all these: but it is 
a melancholy of mine own, compounded of many 
simples, extracted from many objects, and in- 
deed the sundry contemplation of my travels, 
which, by often rumination, wraps me in a most 
humorous sadness. 21 

R os. A traveller ! By my faith, you have great 
reason to be sad. I fear you have sold your own 
lands to see other men's; then, to have seen 
much and to have nothing, is to have rich eyes 
and poor hands. 26 

Jaq. Yes, I have gained my experience. 

Enter Orlando. 

Ros. And your experience makes you sad: I 
had rather have a fool to make me merry than 
experience to make me sad: and to travel for it 
too! 

Orl. Good day, and happiness, dear Rosalind! 

8 censure: judgment, opinion; cf. n. ,- . , • . 

12 emulation: i.e., envy of other scholars superior mental attainments 

16 nice: trivial, or dainty 

18 simples: ingredients (literally, 'herbs') 

21 humorous: whimsical 



74 As You Like It, IV. i 

Jaq. Nay then, God be wi' you, an you talk 
in blank verse. [Exit.] 

Ros. Farewell, Monsieur Traveller: look you 
lisp, and wear strange suits, disable all the 
benefits of your own country, be out of love with 
your nativity, and almost chide God for making 38 
you that countenance you are; or I will scarce 
think you have swam in a gondola. Why, how 
now, Orlando! where have you been all this 
while? You a lover! An you serve me such 
another trick, never come in my sight more. 

Orl. My fair Rosalind, I come within an hour 
of my promise. 45 

Ros. Break an hour's promise in love! He 
that will divide a minute into a thousand parts, 
and break but a part of the thousandth part of a 
minute in the affairs of love, it may be said of 
him that Cupid hath clapped him o' the shoulder, . 
but I'll warrant him heart-whole. 

Orl. Pardon me, dear Rosalind. 52 

Ros. Nay, an you be so tardy, come no more 
in my sight: I had as lief be wooed of a snail. 

Orl. Of a snail! 

Ros. Ay, of a snail; for though he comes 
slowly, he carries his house on his head; a 
better jointure, I think, than you make a wo- 
man: besides, he brings his destiny with him. 

Orl. What's that? 60 

Ros. Why, horns; that such as you are fain 
to be beholding to your wives for: but he comes 

36 lisp: i.e., talk with the affectation of a foreign accent disable: 

disparage 
38 nativity: place of birth 
40 swam . . . gondola; cf. n. 
58 jointure: marriage portion 

61 fain: i.e., glad under the circumstances, obliged 

62 beholding: beholden 



As You Like It, IF. i 75 

armed in his fortune and prevents the slander 
of his wife. 64 

Orl. Virtue is no horn-maker; and my Rosa- 
^-Ijnd is virtuous. 

Ros. And I am your Rosalind? 

Cel. It pleases him to call you so; but he 
hath a Rosalind of a better leer than you. 69 

Ros. Come, woo me, woo me; for now I am 
in a holiday humour, and like enough to con- 
sent. What would you say to me now, an I 
were your very very Rosalind? 73 

Orl. I would kiss before I spoke. 

Ros. Nay, you were better speak first, and 
when you were gravelled for lack of matter, 
you might take occasion to kiss. Very good 
orators, when they are out, they will spit; and 
for lovers lacking — God warn us ! — matter, the 
cleanliest shift is to kiss. 80 

Orl. How if the kiss be denied? 

Ros. Then she puts you to entreaty, and there 
begins new matter. 

Orl. Who could be out, being before his be- 
loved mistress? 85 

Ros. Marry, that should you, if I were your 
mistress; or I should think my honesty ranker 
than my wit. 88 

Orl. What, of my suit? 

Ros. Not out of your apparel, and yet out of 
your suit. Am not I your Rosalind? 91 

Orl. I take some joy to say you are, because 
I would be talking of her. 

63 prevents: anticipates 69 leer: complexion, countenance 

76 gravelled: nonplused 78 out: i.e., out of material 

79 God warn us: God keep us 

80 cleanliest shift : cleverest device 87 ranker : more excessive 



76 As You Like It, IF. i 

Ros. Well, in her person I say I will not have 
you. 

Orl. Then in mine own person I die. 96 

Ros. No, faith, die by attorney. The poor 
world is almost six thousand years old, and in 
all this time there was not any man died in his 
own person, videlicet, in a love-cause. Troilus 
had his brains dashed out with a Grecian club; 
yet he did what he could to die before, and he 
is one of the patterns of love. Leander, he would 103 
have lived many a fair year, though Hero had 
turned nun, if it had not been for a hot mid- 
summer night; for, good youth, he went but 
forth to wash him in the Hellespont, and being 
taken with the cramp was drowned; and the 
foolish chroniclers of that age found it was 'Hero 
of Sestos.' But these are all lies: men have died 
from time to time, and worms have eaten them, 
but not for love. 112 

Orl. I would not have my right Rosalind of 
this mind; for, I protest, her frown might kill 
me. 

Ros. By this hand, it will not kill a fly. But 
come, now I will be your Rosalind in a more 
coming-on disposition; and ask me what you 
will, I will grant it. 

Orl. Then love me, Rosalind. 120 

Ros. Yes, faith, will I, Fridays and Saturdays 
and all. 

Orl. And wilt thou have me? 

Ros. Ay, and twenty such. 124 

Orl. What sayest thou? 

97 attorney: proxy 100 videlicet: namely Troilus; cf. n. 

103 patterns: models Leander; cf. n. 

109 chroniclers; cf. n. 113 right: true 



As You Like It, IF. i 77 

Ros. Are you not good? 

Orl. I hope so. 

Ros. Why then, can one desire too much of 
a good thing? — Come, sister, you shall be the 
priest and marry us. — Give me your hand, Or- 
lando. What do you say, sister? 

Orl. Pray thee, marry us. 132 

Cel. I cannot say the words. 

Ros. You must begin, — 'Will you, Orlando,' — 

Cel. Go to. — Will you, Orlando, have to wife 
this Rosalind? 136 

Orl. I will. 

R os. Ay, but when? 

Orl. Why now; as fast as she can marry us. 

Ros. Then you must say, 'I take thee, Ro- 
salind, for wife/ 141 

Orl. I take thee, Rosalind, for wife. 

Ros. I might ask you for your commission; 
but, I do take thee, Orlando, for my husband: 
there's a girl goes before the priest; and, cer- 
tainly, a woman's thought runs before her ac- 
tions. 147 

Orl. So do all thoughts; they are winged. 

Ros. Now tell me how long you would have 
her after you have possessed her? 

Orl. For ever and a day. 151 

Ros. Say 'a day,' without the 'ever.' No, no, 
Orlando; men are April when they woo, De- 
cember when they wed: maids are May when 
they are maids, but the sky changes when they 
are wives. I will be more jealous of thee than 
a Barbary cock-pigeon over his hen; more cla- 

135 Go to: here an ejaculation of assent 
145 there's . . . goes; cf. n. 



78 As You Like It, IF. i 

morous than a parrot against rain ; more new- 158 
f angled than an ape; more giddy in my desires 
than a monkey: I will weep for nothing, like 
Diana in the fountain, and I will do that when 
you are disposed to be merry; I will laugh like 
a hyen, and that when thou art inclined to sleep. 

Orl. But will my Rosalind do so? 164 

Ros. By my life, she will do as I do. 

Orl. O ! but she is wise. 

Ros. Or else she could not have the wit to do 
this : the wiser, the way warder : make the doors 168 
upon a woman's wit, and it will out at the case- 
ment; shut that, and 'twill out at the key-hole; 
stop that, 'twill fly with the smoke out at the 
chimney. 172 

Orl. A man that hath a wife with such a wit, 
he might say, 'Wit, whither wilt?' 

Ros. Nay, you might keep that check for it 
till you met your wife's wit going to your neigh- 
bour's bed. 177 

Orl. And what wit could wit have to excuse 
that? 

Ros. Marry, to say she came to seek you there. 
You shall never take her without her answer, 
unless you take her without her tongue. O ! 
that woman that cannot make her fault her 
husband's occasion, let her never nurse her child 
herself, for she will breed it like a fool. 185 

Orl. For these two hours, Rosalind, I will 
leave thee. 

Ros. Alas ! dear love, I cannot lack thee two 
hours. 189 

158 against: in expectation of new-fangled: fond of zvhat is new 

161 Diana . . . fountain; cf. n. 163 hyen: hyena 

168 make: bar 174 'Wit . . . wilt'; cf. n. 

175 check: rebuke 184 husband's occasion; cf. n. 



As You Like It, IV, i 79 

Orl. I must attend the duke at dinner: by 
two o'clock I will be with thee again. 

R os. Ay, go your ways, go your ways ; I knew 
what you would prove, my friends told me as 
much, and I thought no less: that flattering 
tongue of yours won me: 'tis but one cast away, 
and so, come, death ! Two o'clock is your hour ? 

Orl. Ay, sweet Rosalind. 197 

Ros. By my troth, and in good earnest, and 
so God mend me, and by all pretty oaths that 
are not dangerous, if you break one jot of your 
promise or come one minute behind your hour, 
I will think you the most pathetical break- 
promise, and the most hollow lover, and the 
most unworthy of her you call Rosalind, that 
may be chosen out of the gross band of the 
unfaithful. Therefore, beware my censure, and 
keep your promise. 207 

Orl. With no less religion than if thou wert 
indeed my Rosalind: so, adieu. 

Ros. Well, Time is the old justice that ex- 
amines all such offenders, and let Time try. 211 
Adieu. Exit [Orlando]. 

Cel. You have simply misused our sex in your 
love-prate: we must have your doublet and hose 
plucked over your head, and show the world 
what the bird hath done to her own nest. 216 

Ros. O coz, coz, coz, my pretty little coz, that 
thou didst know how many fathom deep I am in 
love ! But it cannot be sounded: my affection hath 
an unknown bottom, like the bay of Portugal. 

195 cast away : forsaken 199 mend: amend 

202 pathetical: 'miserable' (?) 205 gross: whole 

208 religion: fidelity 211 Time try: i.e., prove your fidelity 

213 simply: completely misused: reviled 

216 bird . . . nest; cf. n. 220 bay of Portugal; cf. n. 



so As You Like It, IV. ii 

Cel. Or rather, bottomless ; that as fast as you 
pour affection in, it runs out. 222 

Ros. No; that same wicked bastard of Venus, 
that was begot of thought, conceived of spleen, 
and born of madness, that blind rascally boy 
that abuses every one's eyes because his own 
are out, let him be judge how deep I am in 
love. I'll tell thee, Aliena, I cannot be out of 
the sight of Orlando: I'll go find a shadow and 
sigh till he come. 230 

Cel. And I'll sleep. Exeunt. 



Scene Two 

[Another Part of the Forest~\ 

Enter Jaques and Lords, Foresters. 

Jaq. Which is he that killed the deer? 

[First] Lord. Sir, it was I. 

Jaq. Let's present him to the duke, like a 
Roman conqueror ; and it would do well to set the 
deer's horns upon his head for a branch of victory. 
Have you no song, forester, for this purpose? 6 

[Second] Lord. Yes, sir. 

Jaq. Sing it: 'tis no matter how it be in tune 
so it make noise enough. 

Music. Song. 

'What shall he have that kill'd the deer? 
His leather skin and horns to wear. 

Then sing him home. 12 

The rest shall bear this burden. 

224 thought: melancholy spleen: impulse 

S. d. Lords, Foresters: (Lords dressed as foresters) 

5 branch; cf. n. S. d. The . . . burden; cf. n. 



As You Like It, IF. Hi 81 

Take thou no scorn to wear the horn ; 

It was a crest ere thou wast born: 
Thy father's father wore it, 
And thy father bore it: 16 

The horn, the horn, the lusty horn 

Is not a thing to laugh to scorn.' 



Exeunt. 






Scene Three 
[The Forest of Arden"] 

Enter Rosalind and Celia. 

Ros. How say you now? Is it not past two 
o'clock? And here much Orlando! 

Cel. I warrant you, with pure love and a 
troubled brain, he hath ta'en his bow and ar- 4 
rows, and is gone forth to sleep. 

Enter Silvius. 

Look, who comes here. 

Sil. My errand is to you, fair youth. 
My gentle Phebe did bid me give you this: 8 

[Giving a letter. ] 
I know not the contents ; but, as I guess 
By the stern brow and waspish action 
Which she did use as she was writing of it, 
It bears an angry tenour : pardon me ; 12 

I am but as a guiltless messenger. 

Ros. Patience herself would startle at this letter, 
And play the swaggerer: bear this, bear all: 
She says I am not fair ; that I lack manners ; 16 

She calls me proud, and that she could not love me 
Were man as rare as phoenix. 'Od's my will ! 

18 phoenix; cf. n. 



82 As You Like It, IF. Hi 

Her love is not the hare that I do hunt : 

Why writes she so to me? Well, shepherd, well, 20 

This is a letter of your own device. 

Sil. No, I protest, I know not the contents: 
Phebe did write it. 

Ros. Come, come, you are a fool, 

And turn'd into the extremity of love. 24 

I saw her hand : she has a leathern hand, 
A freestone-colour'd hand; I verily did think 
That her old gloves were on, but 'twas her hands: 
She has a housewife's hand; but that's no matter: 28 
I say she never did invent this letter ; 
This is a man's invention, and his hand. 

Sil. Sure, it is hers. 

Ros. Why, 'tis a boisterous and a cruel style, 32 
A style for challengers; why, she defies me, 
Like Turk to Christian: woman's gentle brain 
Could not drop forth such giant-rude invention, 
Such Ethiop words, blacker in their effect 36 

Than in their countenance. Will you hear the letter ? 

Sil. So please you, for I never heard it yet; 
Yet heard too much of Phebe's cruelty. 

Ros. She Phebes me. Mark how the tyrant 
writes. [Reads. ~\ 40 

'Art thou god to shepherd turn'd, 
That a maiden's heart hath burn'd?' 

Can a woman rail thus ? 

Sil. Call you this railing? 44 

Ros. [reads.'] 

'Why, thy godhead laid apart, 
Warr'st thou with a woman's heart?' 

25 hand: handwriting 26 freestone-colour'd: brick-colored 

34 Turk to Christian; cf. n. 35 giant-rude : excessively rude 

36 Ethiop: dark 45 laid apart : put aivay 



As You Like It, IV. Hi 83 

Did you ever hear such railing? 

'Whiles the eye of man did woo me, 48 

That could do no vengeance to me.' 

Meaning me a beast. 

'If the scorn of your bright eyne 

Have power to raise such love in mine, 52 

Alack! in me what strange effect 

Would they work in mild aspect. 

Whiles you chid me, I did love; 

How then might your prayers move ! 56 

He that brings this love to thee 

Little knows this love in me; 

And by him seal up thy mind; 

Whether that thy youth and kind 60 

Will the faithful offer take 

Of me and all that I can make; 

Or else by him my love deny, 

And then I'll study how to die.' 64 

Sil. Call you this chiding? 
Cel. Alas, poor shepherd! 
Ros. Do you pity him? no, he deserves no 
pity. Wilt thou love such a woman ? What, to 68 
make thee an instrument and play false strains 
upon thee! not to be endured! Well, go your 
way to her, for I see love hath made thee a tame 
snake, and say this to her: that if she love me, 72 
I charge her to love thee: if she will not, I will 
never have her, unless thou entreat for her. If 
you be a true lover, hence, and not a word, for 
here comes more company. Exit Silvius. 

49 vengeance: mischief, harm 51 eyne: archaic plural of 'eye* 

54 aspect; cf. n. 59 seal . . . mind: express thy mmd 

60 thy youth and kind: i.e., thy youthful nature 
69 instrument . . . strains: i.e., use thee for her own purposes and 

at the same time deceive thee 
72 snake: a term of contempt for a wretched fellow 



84 As You Like It, IV. Hi 

Enter Oliver. 

OIL Good morrow, fair ones. Pray you if you 
know, 77 

Where in the purlieus of this forest stands 
A sheepcote fenc'd about with olive-trees. 

Cel. West of this place, down in the neighbour 
bottom : 80 

The rank of osiers by the murmuring stream 
Left on your right hand brings you to the place. 
But at this hour the house doth keep itself; 
There's none within. 84 

OIL If that an eye may profit by a tongue, 
Then should I know you by description; 
Such garments, and such years: 'The boy is fair, 
Of female favour, and bestows himself 88 

Like a ripe sister: the woman low, 
And browner than her brother.' Are not you 
The owner of the house I did inquire for ? 

Cel. It is no boast, being ask'd, to say, we are. 92 

OIL Orlando doth commend him to you both, 
And to that youth he calls his Rosalind 
He sends this bloody napkin. Are you he? 

Ros. I am: what must we understand by this? 96 

OIL Some of my shame ; if you will know of me 
What man I am, and how, and why, and where 
This handkercher was stain'd. 

Cel. I pray you, tell it. 

OIL When last the young Orlando parted from 
you 100 

He left a promise to return again 

77 Pray: I pray 

78 purlieus: tracts of land on the border of a forest 

80 neighbour bottom: neighboring valley 

81 rank of osiers: row of willow trees 

88 favour: features bestows himself : carries himself 

89 ripe: grown up low: i.e., in stature 
95 napkin: handkerchief 



As You Like It, IV, Hi 85 

Within an hour; and, pacing through the forest, 

Chewing the food of sweet and bitter fancy, 

Lo, what befell ! he threw his eye aside, 104 

And mark what object did present itself: 

Under an old oak, whose boughs were moss'd with 

age, 
And high top bald with dry antiquity, 
A wretched ragged man, o'ergrown with hair, 108 

Lay sleeping on his back: about his neck 
A green and gilded snake had wreath'd itself, 
Who with her head nimble in threats approach'd 
The opening of his mouth; but suddenly, 112 

Seeing Orlando, it unlink'd itself, 
And with indented glides did slip away 
Into a bush; under which bush's shade 
A lioness, with udders all drawn dry, 116 

Lay couching, head on ground, with catlike watch, 
When that the sleeping man should stir; for 'tis 
The royal disposition of that beast 
To prey on nothing that doth seem as dead: 120 

This seen, Orlando did approach the man, 
And found it was his brother, his elder brother. 

Cel. O ! I have heard him speak of that same 
brother ; 
And he did render him the most unnatural 124 

That liv'd 'mongst men. 

OIL And well he might so do, 

For well I know he was unnatural. 

Ros. But, to Orlando: did he leave him there, 
Food to the suck'd and hungry lioness ? 128 

OIL Twice did he turn his back and purpos'd so ; 

104 threw . . . aside: directed his eye to one side 

110 gilded: i.e., of a golden color _ 113 unlink'd: uncoiled 

114 indented glides: i.e., gliding in a zigzag line 

117 couching: crouched for a spring 

119 royal; cf. n. 124 render: describe 



86 As You Like It, IV. Hi 

But kindness, nobler ever than revenge, 
And nature, stronger than his just occasion, 
Made him give battle to the lioness, 132 

Who quickly fell before him: in which hurtling 
From miserable slumber I awak'd. 

Cel. Are you his brother? 

Ros. Was it you he rescu'd? 

Cel. Was 't you that did so oft contrive to kill 
him? 136 

OIL 'Twas I ; but 'tis not I. I do not shame 
To tell you what I was, since my conversion 
So sweetly tastes, being the thing I am. 

Ros. But, for the bloody napkin? 

OIL By and by. 140 

When from the first to last, betwixt us two, 
Tears our recountments had most kindly bath'd, 
As how I came into that desert place: — 
In brief, he led me to the gentle duke, 144 

Who gave me fresh array and entertainment, 
Committing me unto my brother's love; 
Who led me instantly unto his cave, 
There stripp'd himself; and here, upon his arm 148 
The lioness had torn some flesh away, 
Which all this while had bled; and now he fainted, 
And cried, in fainting, upon Rosalind. 
Brief, I recover'd him, bound up his wound; 152 

And, after some small space, being strong at heart, 
He sent me hither, stranger as I am, 
To tell this story, that you might excuse 
His broken promise ; and to give this napkin, 156 

Dy'd in his blood, unto the shepherd youth 
That he in sport doth call his Rosalind. 

130 kindness: tenderness 131 just occasion: provocation 

133 hurtling: clashing tumult 136 contrive: plot 

142 recountments: recitals 
152 recover'd: brought back to consciousness 



As You Like It, IV. Hi 87 

Cel. [Rosalind swoons. ] Why, how now, Gany- 
mede ! sweet Ganymede ! 
Oli. Many will swoon when they do look on 

blood. 160 

Cel. There is more in it. Cousin ! Ganymede ! 
Oli. Look, he recovers. 
Ros. I would I were at home. 

Cel. We'll lead you thither. 

I pray you, will you take him by the arm? 164 

Oli. Be of good cheer, youth. You a man ! 
You lack a man's heart. 

Ros. I do so, I confess it. Ah, sirrah ! a body 
would think this was well counterfeited. I pray 
you, tell your brother how well I counterfeited. 
Heigh-ho ! 170 

Oli. This was not counterfeit: there is too 
great testimony in your complexion that it was 
a passion of earnest. 173 

Ros. Counterfeit, I assure you. 

Oli. Well then, take a good heart and coun- 
terfeit to be a man. 

Ros. So I do; but, i' faith, I should have been 
a woman by right. 

Cel. Come; you look paler and paler: pray 
you, draw homewards. Good sir, go with us. 180 
Oli. That will I, for I must bear answer back 
How you excuse my brother, Rosalind. 

Ros. I shall devise something. But, I pray 
you, commend my counterfeiting to him. Will 
you go? Exeunt. 

173 passion of earnest: real indisposition 



88 As You Like It, V. i 

ACT FIFTH 

Scene One 
[The Forest of Arden] 

Enter Touchstone and Audrey. 

Touch. We shall find a time, Audrey: patience, 
gentle Audrey. 

Aud. Faith, the priest was good enough, for 
all the old gentleman's saying. 4 

Touch. A most wicked Sir Oliver, Audrey; a 
most vile Martext. But, Audrey, there is a youth 
here in the forest lays claim to you. 

Aud. Ay, I know who 'tis: he hath no interest 
in me in the world. Here comes the man you 
mean. 10 

Enter William. 

Touch. It is meat and drink to me to see a 
clown. By my troth, we that have good wits have 
much to answer for: we shall be flouting; we 
cannot hold. 

Will. Good even, Audrey. 

Aud. God ye good even, William/ 16 

Will. And good even to you, sir\. 

Touch. Good even, gentle friend. Cover thy 
head, cover thy head; nay, prithee, be covered. 
How old are you, friend? 20 

Will. Five-and-twenty, sir. 

Touch. A ripe age. Is .thy name William? 

Will. William, sir. 

Touch. A fair name. Wast born i' the forest 
here ? 25 

13 we . . . flouting: i.e., we must have something to mock at 

14 hold: i.e., our peace 16 God ye: God give you 



As You Like It, V. i 89 

Will. Ay, sir, I thank God. 

Touch. 'Thank God'; a good answer. Art 
rich ? 28 

Will. Faith, sir, so so. 

Touch. 'So so,' is good, very good, very excel- 
lent good: and yet it is not; it is but so so. Art 
thou wise? 32 

Will. Ay, sir, I have a pretty wit. 

Touch. Why, thou sayest well. I do now re- 
member a saying, 'The fool doth think he is 
wise, but the wise man knows himself to be a 
fool/ The heathen philosopher, when he had a 
desire to eat a grape, would open his lips when 
he put it into his mouth; meaning thereby that 
grapes were made to eat and lips to open. You 
do love this maid? 41 

Will. I do, sir. 

Touch. Give me your hand. Art thou learned? 

Will. No, sir. 44 

Touch. Then learn this of me: to have, is to 
have; for it is a figure in rhetoric, that drink, 
being poured out of a cup into a glass, by fill- 
ing the one doth empty the other; for all your 
writers do consent that ipse is he: now, you are 
not ipse, for I am he. 50 

Will. Which he, sir? 

Touch. He, sir, that must marry this woman. 
Therefore, you clown, abandon, — which is in the 
vulgar, leave, — the society, — which in the boorish 
is, company, — of this female, — which in the com- 
mon is, woman; which together is, abandon the 
society of this female, or, clown, thou perishest; 
or, to thy better understanding, diest; or, to wit, 

49 ipse is he ; cf. n. 



90 As You Like It, V. ii 

I kill thee, make thee away, translate thy life 59 
into death, thy liberty into bondage. I will deal 
in poison with thee, or in bastinado, or in steel; 
I will bandy with thee in faction; I will o'errun 
thee with policy; I will kill thee a hundred and 
fifty ways: therefore tremble, and depart. 64 

Aud. Do, good William. 

Will. God rest you merry, sir. Exit. 

Enter Corin. 

Cor. Our master and mistress seek you: 
come, away, away! 68 

Touch. Trip, Audrey! trip, Audrey! I attend, 
I attend. Exeunt. 



Scene Two 

[Another Part of the Forest] 
Enter Orlando and Oliver. 

Orl. Is 't possible that on so little acquaint- 
ance you should like her? that, but seeing, you 
should love her? and, loving, woo? and, wooing, 
she should grant ? and will you persever to enj oy 
her? 5 

OIL Neither call the giddiness of it in ques- 
tion, the poverty of her, the small acquaintance, 
my sudden wooing, nor her sudden consenting; 
but say with me, I love Aliena; say with her, 
that she loves me; consent with both, that we 
may enjoy each other: it shall be to your good; 
for my father's house and all the revenue that 

59 translate: transform 61 bastinado : beating with a stick 

62 bandy: strive faction: dissension o'errun: overwhelm^ 

63 policy : craft 6 call ... in question : scrutinize, inquire into 



As You Like It, V. ii 91 

was old Sir Rowland's will I estate upon you, 
and here live and die a shepherd. 14 

Enter Rosalind. 

Orl. You have my consent. Let your wedding 
be to-morrow: thither will I invite the duke 
and all's contented followers. Go you and 
prepare Aliena; for, look you, here comes my 
Rosalind. 

Ros. God save you, brother. 20 

OIL And you, fair sister. [Exit.] 

Ros. O ! my dear Orlando, how it grieves me 
to see thee wear thy heart in a scarf. 

Orl. It is my arm. 24 

Ros. I thought thy heart had been wounded 
with the claws of a lion. 

Orl. Wounded it is, but with the eyes of a 
lady. 28 

Ros. Did your brother tell you how I coun- 
terfeited to swound when he showed me your 
handkercher ? 

Orl. Ay, and greater wonders than that. 32 

Ros. O ! I know where you are. Nay, 'tis 
true: there was never anything so sudden but 
the fight of two rams, and Caesar's thrasonical 
brag of 'I came, saw, and overcame': for your 
brother and my sister no sooner met, but they 
looked; no sooner looked but they loved; no 
sooner loved but they sighed; no sooner sighed 
but they asked one another the reason ; no 40 
sooner knew the reason but they sought the 

13 estate: bestow; cf. n. 15-19 Cf.n. 

21 fair sister; cf. n. 23 heart in a scarf; cf. n. 

33 where you are: i.e., what you are driving at 

35 thrasonical: boastful; cf. n. 

36 'I . . . overcame'; cf. n. 



92 As You Like It, V. ii 

remedy: and in these degrees have they made a 
pair of stairs to marriage which they will climb 
incontinent, or else be incontinent before mar- 
riage. They are in the very wrath of love, and 
they will together: clubs cannot part them. 46 

Orl. They shall be married to-morrow, and I 
will bid the duke to the nuptial. But, O ! how 
bitter a thing it is to look into happiness 
through another man's eyes. By so much the 
more shall I to-morrow be at the height of 
heart-heaviness, by how much I shall think my 
brother happy in having what he wishes for. 53 

Ros. Why then, to-morrow I cannot serve 
your turn for Rosalind? 

Orl. I can live no longer by thinking. 56 

Ros. I will weary you then no longer with 
idle talking. Know of me then, — for now I 
speak to some purpose, — that I know you are a 
gentleman of good conceit. I speak not this that 60 
you should bear a good opinion of my know- 
ledge, insomuch I say I know you are; neither 
do I labour for a greater esteem than may in 
some little measure draw a belief from you, to 
do yourself good, and not to grace me. Believe 65 
then, if you please, that I can do strange things. 
I have, since I was three year old, conversed 
with a magician, most profound in his art and 
yet not damnable. If you do love Rosalind so 
near the heart as your gesture cries it out, when 70 
your brother marries Aliena, shall you marry her. 
I know into what straits of fortune she is driven ; 

42 degrees: pun on two meanings: 'successive gradations' and 'steps' 
44 incontinent: forthwith; cf. n. 45 wrath: ardor 

46 clubs; cf. n. 60 conceit: understanding 

62-65 neither . . . good; cf. n. 65 grace me: do honor to myself 

69 damnable; cf. n. 70 gesture: bearing 



As You Like It, V. ii 93 

and it is not impossible to me, if it appear not 
inconvenient to you, to set her before your eyes 
to-morrow, human as she is, and without any 
danger. 76 

Orl. Speakest thou in sober meanings? 

Ros. By my life, I do; which I tender dearly, 
though I say I am a magician. Therefore, put 
you in your best array; bid your friends; for if 
you will be married to-morrow, you shall; and 
to Rosalind, if you will. 

Enter Silvius and Phebe. 
Look, here comes a lover of mine, and a lover of 

hers. 
"PkeT Youth, you have done me much ungentle- 

524 
ness, 

To show the letter that I writ to you. 

Ros. I care not if I have: it is my study 

To seem despiteful and ungentle to you. 

You are there follow'd by a faithful shepherd: 88 

Look upon him, love him ; he worships you. 

Phe. Good shepherd, tell this youth what 'tis to 
love. 

Sil. It is to be all made of sighs and tears ; 
And so am I for Phebe. 92 

Phe. And I for Ganymede. *— ' 

Orl. And I for Rosalind. _ ^^o^ 

Ros. And I f orfiio woman. 

Sil. It is to be all made of faith and service; 96 
And so am I for Phebe. 

Phe. And I for Ganymede. 

Orl. And I for Rosalind. 

Ros. And I for no woman. 10 ° 

74 inconvenient: undesira ble ^ ^^fli'/JjZ'i 

79 though . . . magician; cf. n. 86 study: diligent endeavor 



94 As You Like It, V. ii 

Sil. It is to be all made of fantasy, 

All made of passion, and all made of wishes; 

All adoration, duty, and observance; 

All humbleness, all patience, and impatience; 104 

All purity, all trial, all obedience; 

And so am I for Phebe. 

Phe. And so am I for Ganymede. 

Orl. And so am I for Rosalind. 108 

Ros. And so am I for no woman. 

Phe. [To Rosalind.] If this be so, why blame you 

me to love you? 
Sil. [To Phebe.] If this be so, why blame you me 

to love you ? 
Orl. If this be so, why blame you me to love you? 
Ros. Why do you speak too, 'Why blame you me to 

love you?' 
Orl. To her that is not here, nor doth not hear. 114 

Ros. Pray you, no more of this : 'tis like the 
howling of Irish wolves against the moon. [To 
Silvius.] I will help you, if I can: [To Phebe.] 
I would love you, if I could. To-morrow meet 
me all together. [To Phebe.] I will marry you, 
if ever I marry woman, and I'll be married to- 120 
morrow: [To Orlando.] I will satisfy you, if 
ever I satisfied man, and you shall be married 
to-morrow: [To Silvius.] I will content you, if 
what pleases you contents you, and you shall be 
married to-morrow. [To Orlando.] As you love 
Rosalind, meet: [To Silvius.] As you love 
Phebe, meet: and as I love no woman, I'll 
meet. So, fare you well: I have left you com- 
mands. 129 

102 wishes: longings 

103 observance: service 

105 Cf. n. 116 Irish wolves; cf. n. 



As You Like It, V. Hi 95 

Sil. I'll not fail, if I live. 

Phe. Nor I. 

Orl. Nor I. Exeunt. 



Scene Three 

[Another Part of the Forest] 
Enter Touchstone and Audrey. 

Touch. To-morrow is the joyful day, Audrey; 
to-morrow will we be married. 

Aud. I do desire it with all my heart, and 
I hope it is no dishonest desire to desire to be a 
woman of the world. Here come two of the 
banished duke's pages. 6 

Enter two Pages. 

First Page. Well met, honest gentleman. 

Touch. By my troth, well met. Come, sit, sit, 
and a song. 9 

Sec. Page. We are for you : sit i' the 
middle. 

First Page. Shall we clap into 't roundly, 
without hawking or spitting, or saying we are 
hoarse, which are the only prologues to a bad 
voice ? 

Sec. Page. I'faith, i'faith; and both in a 
tune, like two gipsies on a horse. 17 

Song. 

'It was a lover and his lass, 

With a hey, and a ho, and a hey nonino, 

5 woman of the world: married woman 

10 are for you: agree to your proposal 

12 clap into 't roundly: set about it briskly 

14 only, invariable 16 a: one Song; cf. n. 



96 As You Like It, V. Hi 

That o'er the green corn-field did pass, 20 

In the spring time, the only pretty ring time, 
When birds do sing, hey ding a ding, ding; 
Sweet lovers love the spring. 

Between the acres of the rye, 24 

With a hey, and a ho, and a hey nonino, 

These pretty country folks would lie, 
In the spring time, &c. 

This carol they began that hour, 28 

With a hey, and a ho, and a hey nonino, 

How that a life was but a flower 
In the spring time, &c. 

And therefore take the present time, 32 

With a hey, and a ho, and a hey nonino; 

For love is crowned with the prime 
In the spring time, &c* 

Touch. Truly, young gentlemen, though there 
was no great matter in the ditty, yet the note 
was very untuneable. 

First Page. You are deceived, sir : we kept 
time; we lost not our time. 40 

Touch. By my troth, yes; I count it but time 
lost to hear such a foolish song. God be wi' you ; 
and God mend your voices ! Come, Audrey. 

Exeunt, 

21 ring time: season for exchanging rings {in betrothal or marriage) 
34 prime : spring 38 untuneable: discordant 



As You Like It, V.iv &*_ 

Scene Four 

[Another Part of the Forest] 

Enter DuJce Senior, Amiens, Jaques, Orlando, Oliver, 

Celia. 

Duke S. Dost thou believe, Orlando, that the boy 
Can do all this that he hath promised? 

Orl. I sometimes do believe, and sometimes do not ; 
As those that fear they hope, and know they fear. 4 
>% ^j Enter Rosalind, Silvius, and Phebe. 

Ros. Patience once more, whiles our compact is 
urg'd. 
[To the Duke.] You say, if I bring in your Rosalind, 
You will bestow her on Orlando here ? 

DuJceS. That would I, had I kingdoms to give 

with her. 8 

Ros. [To Orlando.] And you say, you will have her 

when I bring her? 
Orl. That would I, were I of all kingdoms king. 
Ros. [To Phebe.] You say, that you'll marry me, if 

I be willing? 
Phe. That will I, should I die the hour after. 12 
Ros. But if you do refuse to marry me, 
You'll give yourself to this most faithful shepherd? 
Phe. So is the bargain. 

Ros. [To Silvius.] You say, that you'll have Phebe, 

if she will? 16 

Sil. Though to have her and death were both one 

thing. 
Ros. I have promis'd to make all this matter even. 
Keep you your word, O duke, to give your daughter; 
You yours, Orlando, to receive his daughter; 20 

4 As fear; cf. n. 5 urg'd: clearly emphasized 

18 even: smooth, i.e., plain 



98 As You Like It, V. iv 

Keep your word, Phebe, that you'll marry me, 

Or else, refusing me, to wed this shepherd; 

Keep your word, Silvius, that you'll marry her, 

If she refuse me: and from hence I go, 24 

To make these doubts all even. 

Exeunt Rosalind and Celia. 

Duke S. I do remember in this shepherd boy 
Some lively touches of my daughter's favour. 

Orl. My lord, the first time that I ever saw him, 28 
Methought he was a brother to your daughter ; 
But, my good lord, this boy is forest-born, 
And hath been tutor'd in the rudiments 
Of many desperate studies by his uncle, 32 

Whom he reports to be a great magician, 
Obscured in the circle of this forest. Nsy ft \\l T P" f\ 

Enter Clown [i.e., Touchstone] and Audrey. 

Jaq. There is,. sure, another flood toward, and 
these couples are coming to the ark. Here comes 
a pair of very strange beasts, which in all tongues 
are called fools. 38 

Touch. Salutation and greeting to you all ! 

Jaq. Good my lord, bid him welcome. This 
is the motley-minded gentleman that I have so 
often met in the forest: he hath been a courtier, 
he swears. 43 

Touch. If any man doubt that, let him put 
me to my purgation. I have trod a measure; I 
have flattered a lady; I have been politic with 
my friend, smooth with mine enemy; I have un- 
done three tailors; I have had four quarrels, 
and like to have fought one. 49 

25 doubts: ambiguities y 32 desperate: reckless, heterodox 

34 Obscured: hidden, or, living in retirement 

35 toward: forthcoming 44 put . . . purgation; cf. n. 
45 measure: stately dance 47 undone three tailors; cf. n. 



As You Like It, V. iv 99 

Jaq. And how was that ta'en up? 

Touch. Faith, we met, and found the quarrel 
was upon the seventh cause. 52 

Jaq. How seventh cause? Good my lord, 
like this fellow. 

Duke S. I like him very well. 

Touch. God 'ild you, sir ; I desire you of the 
like. I press in here, sir, amongst the rest of the 
country copulatives, to swear, and to forswear, 
according as marriage binds and blood breaks. 59 
A poor virgin, sir, an ill-favoured thing, sir, but 
mine own: a poor humour of mine, sir, to take 
that that no man else will. Rich honesty dwells 
like a miser, sir, in a poor house, as your pearl 
in your foul oyster. 64 

Duke S. By my faith, he is very swift and 
sententious. 

Touch. According to the fool's bolt, sir, and 
such dulcet diseases. 68 

Jaq. But, for the seventh cause; how did you 
find the quarrel on the seventh cause? 

Touch. Upon a lie seven times removed: — 
bear your body more seeming, Audrey: — as thus, 
sir. I did dislike the cut of a certain courtier's 73 
beard: he sent me word, if I said his beard was 
not cut well, he was in the mind it was: this is 
called 'the retort courteous.' If I sent him word 
again, it was not well cut, he would send me 
word, he cut it to please himself: this is called 
the 'quip modest.' If again, it was not well cut, 

50 ta'en up : made up 56 desire . . . like; cf. n. 

58 copulatives: i.e., persons about to be married 

59 blood: passion 65 swift: quick-witted 
66 sententious: pithy 67 fool's bolt: i.e., which is soon shot 
68 dulcet diseases: sweet vexations (?) 72 seeming: becomingly 
73 dislike: express disapproval of 

79 'quip modest': i.e., a moderate flout 



ioo As You Like It, V. iv 

he disabled my judgment: this is called the 80 
'reply churlish.' If again, it was not well cut, he 
would answer, I spake not true: this is called 
the 'reproof valiant': if again, it was not well 
cut, he would say, I lie: this is called the 
'countercheck quarrelsome': and so to the 'lie 
circumstantial,' and the 'lie direct.' 

Jaq. And how oft did you say his beard was 
not well cut? 88 

Touch. I durst go no further than the 'lie 
circumstantial,' nor he durst not give me the 'lie 
direct'; and so we measured swords and parted. 

Jaq. Can you nominate in order now the de- 
grees of the lie? 93 

Touch. O sir, we quarrel in print; by the 
book, as you have books for good manners: I 
will name you the degrees. The first, the 'retort 
courteous'; the second, the 'quip modest'; the 
third, the 'reply churlish'; the fourth, the 're- 
proof valiant' ; the fifth, the 'countercheck 99 
quarrelsome'; the sixth, the 'lie with circum- 
stance'; the seventh, the 'lie direct.' All these 
you may avoid but the lie direct; and you may 
avoid that too, with an 'if.' I knew when seven 
justices could not take up a quarrel; but when 
the parties were met themselves, one of them 
thought but of an 'if,' as 'If you said so, then I 
said so'; and they shook hands and swore 
brothers. Your 'if is the only peace-maker; 
much virtue in 'if.' 109 

Jaq. Is not this a rare fellow, my lord? he's 
as good at anything, and yet a fool. 

85 countercheck: rebuke 86 circumstantial: indirect 

91 measured swords: fought a few passes 

92 nominate: name 95 book; cf. n. 



As You Like It, V. iv 101 

DuJce S. He uses his folly like a stalking- 
horse, and under the presentation of that he 
shoots his wit. 114 

Enter Hymen, Rosalind [in woman's dress], and 

Celia. 

Still Music. 

Hym. 'Then is there mirth in heaven, 

When earthly things made even 116 

Atone together. 
Good duke, receive thy daughter; 
Hymen from heaven brought her; 

Yea, brought her hither, 120 

That thou mightst join her hand with his, 
Whose heart within her bosom is.' 



Ros. [To Duke S.~\ To you I give myself, for I am 

yours. 

[To Orlando.] To you I give myself, for I am 

yours. 124 

Duke S. If there be truth in sight, you are my 

daughter. 
Orl. If there be truth in sight, you are my Rosa- 
lind. 
Phe. If sight and shape be true, « l\ ft N 

Why then, my love adieu ! /* A L u * 128 

Ros. [To Duke S.] I'll have no father, if you be 
not he. 
[To Orlando.] I'll have no husband, if you be not he: 
[To Phebe.] Nor ne'er wed woman, if you be not she. 

112 stalking-horse; cf. n. 

113 presentation: display 

114 S. d. Hymen; cf. n. Still: soft 
117 Atone: unite 

121, 122 Cf. n. 

127 sight and shape; cf. n. 



102 As You Like It, V. iv 

Hym. 'Peace, ho! I bar confusion: 132 

'Tis I must make conclusion 

Of these most strange events : 
Here's eight that must take hands 
To join in Hymen's bands, 136 

If truth holds true contents.' 
[To Orlando and Rosalind.] You and you no 

cross shall part: 
[To Oliver and Celia.~] You and you are 

heart in heart: 
[To Phebe.~\ You to his love must accord, 140 
Or have a woman to your lord : 
[To Touchstone and Audrey. ,] You and you 

are sure together, 
As the winter to foul weather. 
Whiles a wedlock hymn we sing, 144 

Feed yourselves with questioning, 
That reason wonder may diminish, 
How thus we met, and these things finish. 

Song. 

'Wedding is great Juno's crown: 148 

O blessed bond of board and bed ! 
'Tis Hymen peoples every town; 

High wedlock then be honoured. 
Honour, high honour, and renown, 152 

^ To Hymen, god of every town !' 

Duke S. O my dear niece ! welcome thou art to me : 
Even daughter, welcome in no less degree. 

Phe. [To Silvius.~\ X— will not eat my word, now 
thou art mine; 156 

137 truth . . . contents: i.e., if there be truth in truth 

142 sure together: indissolubly united 

146 reason: explanation 155 Even daughter; cf. n. 



As You Like It, V. iv ios . 

Thy faith my fancy to thee doth combine. 

Enter Second Brother [Jaques de Boys']. 

Jaq. de B. Let me have audience for a word or two: 
I am the second son of old Sir Rowland, 
That bring these tidings to this fair assembly. 160 
Duke Frederick, hearing how that every day 
Men of great worth resorted to this forest, 
Address'd a mighty power, which were on foot 
In his own conduct, purposely to take 164 

His brother here and put him to the sword: 
And to the skirts of this wild wood he came, 
Where, meeting with an old religious man, 
After some question with him, was converted 168 
Both from his enterprise and from the world; 
His crown bequeathing to his banish'd brother, 
And all their lands restor'd to them again 
That were with him exij'd. This to be true, 172 

I do engage my life„ £ fv £ K I ^ & **- K 

Duke S. \ h Welcome, young man ; 

Thou offer'st fairly to thy brothers' wedding: 
To one, his lands withheld; and to the other 
A land itself at large, a potent dukedom. 176 

First, in this forest, let us do those ends 
That here were well begun and well begot; 
And after, every of this happy number 
That have endur'd shrewd days and nights with 

US, 180 

Shall share the good of our returned fortune, 
According to the measure of their states. 
Meantime, forget this new-fall'n dignity, 

157 combine: bind 163 Address'd: prepared power: army 

164 conduct : guidance 168 question: talk 173 engage: pledge 

174 offer'st fairly: makest generous offerings 

177 do . . . ends: complete those purposes 

180 shrewd : grievous 182 states: i.e., positions in the world 

183 new-fall'n: recently acquired 



104. As You Like It, V. iv 

And fall into our rustic revelry. 184 

Play, music ! and you, brides and bridegrooms all, 
With measure heap'd in joy, to the measures fall. 

Jaq. Sir, by your patience. If I heard you rightly, 
The duke hath put on a religious life, 188 

And thrown into neglect the pompous court? 
Jaq. de B. He hath. 

Jaq. To him will I: out of these convertites 
There is much matter to be heard and learn'd. 192 
[To Duke S.] You to your former honour I be- 
queath ; 
Your patience and your virtue well deserve it: 
[To Orlando.] You to a love that your true faith 

doth merit: 
[To Oliver.] You to your land, and love, and great 
allies : 196 

[To Silvius.] You to a long and well-deserved bed: 
[To Touchstone.] And you to wrangling; for thy lov- 
ing voyage 
Is but for two months victual'd. So, to your pleas- 
ures: 
I am for other than for dancing measures. 200 

Duke S. Stay, Jaques, stay. 

Jaq. To see no pastime, I : what you would have 
I'll stay to know at your abandon'd cave. Exit. 

Duke S. Proceed, proceed: we will begin these 
rites, 204 

As we do trust they'll end, in true delights. 

Exeunt. 

186 With measure : temperately 191 convertites: converts 



As You Like It, Epilogue 105 

[EPILOGUE. 
Spoken by Rosalind.] 

It is not the fashion to see the lady the 
epilogue; but it is no more unhandsome than 
to see the lord the prologue. If it be true that 
good wine needs no bush, His true that a good 
play needs no epilogue; yet to good wine they 5 
do use good bushes, and good plays prove the 
better by the help of good epilogues. What a 
case am I in then, that am neither a good epi- 
logue, nor cannot insinuate with you in the be- 
half of a good play! I am not furnished like a 10 
beggar, therefore to beg will not become me: my 
way is, to conjure you; and I'll begin with the 
women. I charge you, women! for the love 
you bear to men, to like as much of this play as 
please you: and I charge you, men! for the 15 
love you bear to women, — as I perceive by your 
simpering none of you hate them, — that between 
you and the women, the play may please. If I 
were a woman I would kiss as many of you as 
had beards that pleased me, complexions that 20 
liked me, and breaths that I defied not; and, 
I am sure, as many as have good beards, or 
good faces, or sweet breaths, will, for my kind 
offer, when I make curtsy, bid me farewell. 

Exit. 

Epilogue — 

1 the lady; cf. n. 

2 unhandsome : improper, unseemly 
4 wine . . . bush; cf. n. 

9 insinuate: i.e., wheedle myself into your favor 
12 conjure: call solemnly upon 
18 If . . . woman; cf. n 
21 defied: distrusted 

FINIS 



NOTES 

I. i. 2. The nominative 'he' is often omitted when 
it may be readily inferred from the context, as in this 
instance before 'bequeathed.' There are numerous 
other unnecessary conjectures and emendations of the 
text. The sentence is abrupt, but its meaning is clear. 

I. i. 5. Jaques. Jaques de Boys, who appears in 
V. iv. Not to be confused with the follower of Duke 
Senior, the 'melancholy Jaques.' 

I. i. 27 S. d. A return has been made to the 'antici- 
patory entrances' of the First Folio. In nearly every 
case the entrance is placed earlier in the First Folio 
than in modern editions. Time is required for the 
actor to cross the stage, hence the entrances of the 
First Folio correspond to the necessities of stage rep- 
resentation. 

I. i. 41. prodigal portion. A reference to the Bib- 
lical story of the Prodigal Son (Luke 15). 

I. i. 55. reverence. I.e., 'as the first-born you 
should stand nearer the inheritance of reverence de- 
rived from the head of the family.' It is the irony in 
Orlando's tone as he says this which angers Oliver. 

I. i. 112. duke's daughter. I.e., Rosalind is daugh- 
ter to Duke Senior, Celia to Duke Frederick. 

I. i. 122. forest of Arden. The scene of Lodge's 
novel is laid in France and therefore the literal 
minded have suggested that by the forest of Arden 
Shakespeare meant the forest of the Ardennes in 
northeastern France. There is, however, a forest of 
Arden in Warwickshire. Needless to say, the forests 
of neither locality contain either palm or olive trees, 
to say nothing of lions. Shakespeare himself has 
sufficiently identified his forest as a place where men 



As You Like It 107 

may 'fleet the time carelessly, as they did in the 
golden world.' It is an Arcadia inhabited by shep- 
herds and shepherdesses, a never-never land whose 
exact location is in the uncharted seas of a poet's 
imagination. 

I. i. 127. golden world. According to classical 
mythology, the first inhabitants of the world lived 
together in innocence and happiness under the natural 
laws of truth and right. The earth brought forth all 
man's necessities, without labor, and strife was un- 
known. For a description of the golden world and 
man's successive departures from an age of innocence 
see Ovid's Metamorphoses, Book I. 

I. ii. 4. I. The addition of 'I' is Rowe's emendation 
(1709), accepted by later authorities as necessary. 

I. ii. 36. Fortune . . . wheel. Fortune's emblem 
was a wheel which symbolized the instability of her 
favors. A good housewife also had a wheel, but one 
of another kind, namely, a spinning wheel. Celia 
jestingly likens Fortune's wheel to the housewife's, 
and proposes to drive this housewife Fortune from her 
wheel by wit to prevent her hereafter from being 
inconstant. 

I. ii. 90. Cel. The First Folio assigns this speech 
to Rosalind. In that case it would be necessary to 
infer that both the Dukes were named Frederick. As 
they were brothers, this would not be probable. 

I. ii. 96. fools . . . silenced. Wright believes this 
to be a reference to some recent inhibition of the 
players; Fleay, 'probably to the burning of satirical 
books by public authority 1st June, 1599.' If the 
latter were true it would be an important indication of 
the date of the play. 

I. ii. 108. Sport. Le Beau probably pronounces 
'sport' so that it sounds like 'spot.' Hence Celia's 
quibble. 

I. ii. 112. Destinies. There were three Destinies 



108 As You Like It 

or Fates — Clotho, Lachesis, and Atropos, who spun 
the threads of human lives, cutting these threads 
short with shears when they pleased. 

I. ii. 114. rank. A pun on 'rank' meaning 'posi- 
tion' and its adjectival meaning of 'strong' in relation 
to odors. 

I. ii. 132. Be . . . presents. A common legal 
phrase introduced for the sake of the pun on 'pres- 
ence' in line 131. 

I. ii. 151. broken music. Chapell (Popular Music, 
p. 346) explains the phrase as follows: 'Some instru- 
ments such as viols, violins, flutes, etc., were made in 
sets of four, which when played together made a 
consort. If one or more of the instruments of one 
set were substituted for the corresponding ones of 
another set, the result is no longer a consort, but 
broken music' A damaged wrestler groaning in pain, 
might, therefore, be looked upon as broken music, 
since neither his utterance nor himself was now a 
harmony. 

I. ii. 179. them. Orlando's plural includes Rosa- 
lind. 

I. ii. 187. saw . . . judgment. I.e., 'if your eyes 
saw yourself in your true proportion, or your judg- 
ment were mature enough to know your own limita- 
tions.' 

I. ii. 198. wherein . . . guilty. I.e., 'much de- 
serving of your hard thoughts to deny, etc' 

I. ii. 226. Hercules . . . speed. I.e., 'may Her- 
cules be your patron.' 

I. ii. 263. suits . . . fortune. I.e., 'whom fortune 
has denied favors.' 

I. ii. 268. quintain. A stout post or plank or some 
object mounted on such a support, set up as a mark 
to be tilted at (Onions). Here used figuratively. 

I. ii. 289. taller. Apparently a slip of the pen on 
Shakespeare's part, for afterwards Rosalind is de- 



As You Like It 109 

scribed as 'taller' than Celia. Malone suggested the 
emendation 'smaller/ which has been adopted by many 
editors unwilling to credit Shakespeare with even so 
trivial an error. 

I. ii. 304. smoke . . . smother. Proverbial, 
equivalent to 'out of the frying pan into the fire/ 
'Smother' is a suffocating smoke. 

I. iii. 20. hem . . . him. A quibble on the likeness 
of sound between 'hem' and 'him.' Possibly the whole 
phrase is proverbial, although no commentator has 
quoted such a proverb. 

I. iii. 38. Why . . . not. I.e., 'Why should I not 
hate him?' deserve well. I.e., 'to be hated/ 

I. iii. 78. Juno's swans. As far as known, Juno 
had no swans. The peacock was her favorite bird. 
Shakespeare has possibly been influenced by the story 
of Jupiter and Leda. 

I. iii. 128. Ganymede. He was a Trojan boy 
whom Jupiter, in the disguise of an eagle, seized and 
carried off from the midst of his playfellows on 
Mount Ida to make him cup-bearer to the gods. 

I. iii. 131. Aliena. From the Latin, meaning a 
stranger. Cf. alien. 

II. i. S. d. DuJee Senior. So designated through- 
out the First Folio. 

II. i. 5. penalty of Adam. I.e., 'In the sweat of 
thy face shalt thou eat bread' (Genesis 3. 19). In 
the forest they do not suffer from this penalty, for 
they fleet the time carelessly as in the golden world 
where none had to toil. 'The season's difference' 
which some commentators take to be the 'penalty of 
Adam' is not so described in the Bible. 

II. i. 13. toad. The natural history of Shake- 
speare's time spoke of the toad as 'venomous,' while 
it was believed to carry in its head a stone or jewel 
'of power to repulse poysons/ 



no As You Like It 

II. i. 18. I ... it. Many modern editions give 
this half line to Duke Senior. The present text fol- 
lows the First Folio in assigning it to Amiens, who 
thus agrees with the Duke's summary of their happy 
life. 

II. i. 23. desert. Any uninhabited or sparsely in- 
habited wild country was called a 'desert' by the 
Elizabethans. The lack of vegetable and animal life 
was not implied in its meaning. 

II. i. 38. tears. There are many references to the 
tears shed by a wounded or dying stag in Elizabethan 
literature. 

II. i. 50. velvet. Other interpretations of velvet 
are : 'sleek and prosperous' ( Aldis Wright) ; velvet 
is the technical term for the outer covering of the 
horns of a stag in the early stages of their growth. 
Here Velvet' seems to be equivalent to 'delicate' 
(Neil). 

II. i. 52. flux of company. I.e., 'the continuous 
stream of people, or friendships.' 

II. iii. 12. No . . . yours. I.e., 'your graces serve 
you to no better purpose.' 

II. iii. 37. diverted blood. I.e., 'natural affection 
turned into a false channel.' 

II. iii. 43. ravens. Cf. Job 38. 41. 'Who pro- 
videth for the raven his food ?' 

II. iii. 50. Nor . . . not. The double negative, 
with the force of a single negative, occurs in several 
places throughout this play. 

II. iii. 74. a week. Probably a proverbial method 
of expression, with a slightly ironical implication, viz., 
'eighty years of age is at least a week too late to 
begin a career of adventure.' 

II. iv. 12. cross . . . money. The ancient penny 
had a cross stamped upon it, hence Touchstone's 
quibble, which includes likewise a reference to Mat- 
thew 10. 38. 



As You Like It in 

II. iv. 43. thy wound. The First Folio has 'they 
would,' which obviously does not make sense. The 
later Folios read 'their wound.' The present emenda- 
tion, 'thy wound,' comes from Rowe. 

II. iv. 51. peascod. 'The peascod is the husk or 
pod which contains the peas, but it here appears to be 
used for the plant itself (Wright). 'Touchstone 
surely means that he took both the cods from, and 
returned them to, the peascod, the representative of 
his mistress' (Staunton). There is a Suffolk super- 
stition current today in which peascods play a part 
in love omens. 

II. v. 3. turn. It has been suggested that this is 
a misprint for 'tune/ There is, however, good 
authority for this use of 'turn' in the sense given in 
the gloss. 

II. v. 27. dog-apes. I.e., dog-faced baboons (?). 

II. v. 54. ducdame. In spite of the plain warning 
given by Jaques of the purpose of his refrain, a num- 
ber of scholars have made laborious guesses at its 
etymology. 

II. v. 61. first-born of Egypt. Cf. Exodus 11. 4- 
5. 'And Moses said, Thus saith the Lord, About mid- 
night will I go out into the midst of Egypt: and all 
the firstborn in the land of Egypt shall die . . / 

II. vii. 6. spheres. According to the Ptolemaic 
system of astronomy, the planets revolved in crystal 
spheres which made heavenly harmonies in their turn- 
ings. 

II. vii. 16. rail'd . . . Fortune. I.e., apparently 
because the lady had not, in Touchstone's case, lived 
up to the proverb that 'fortune favors fools.' 

II. vii. 28. thereby . . . tale. I.e., the common- 
place story of every man. 

II. vii. 30. chanticleer. I.e., 'laugh in triumph at 
my discovery, like the crowing of Chanticleer, the 
cock.' 



112 As You Like It 

II. vii. 44. my only suit. A pun on the two mean- 
ings 'my only request' and 'the only dress for me/ 

II. vii. 73. weary very. A satisfactory paraphrase 
has not as yet been made. The general idea seems to 
be: 'pride flows in as vast a stream as the sea until 
its very sources begin to ebb — i.e., exhaust themselves.' 
The line is probably corrupt. 

II. vii. 79-82. I.e., 'or who is he of lowest office, 
or employment, that says his fine clothes are not at 
my expense, thinking I mean him, but by so saying 
fits his folly to the substance of my speech?' 

II. vii. 96. inland. To be 'inland bred' was to be 
educated among cultured surroundings, not among 
'outlanders' (foreigners) nor 'uplanders' (peasants). 

II. vii. 139. All . . . stage. The phrase goes 
back to classical antiquity and had appeared in Eng- 
lish drama before Shakespeare's day. 

II. vii. 143. seven ages. This seems to have been 
a common number into which to divide the life of 
man. Seven was itself a mystic number. 

II. vii. 154. capon. Hales states that the present 
of a capon was a common method employed to temper 
the decision of the justice. 

II. vii. 158. pantaloon. A foolish old man who 
was a stock character in the Italian commedia 
dell'arte. He appeared usually with slippers, spec- 
tacles on nose and hobbled on a cane. 

II. vii. 167. venerable burden. There is a tradi- 
tion, not well authenticated, that Shakespeare himself 
played the part of Adam and, in this role, was borne 
upon the stage on another man's back. 

III. i. 6. candle. Probably a reference to Luke 
15. 8. 'Either what woman having ten pieces of sil- 
ver, if she lose one piece, doth not light a candle, and 
sweep the house, and seek diligently till she find it?' 
(Steevens). 



As You Like It 113 

III. i. 17. extent. A legal term derived from 'ex- 
tendi facias,' a writ seizing house and lands upon the 
forfeiture of a debt. It is not here used in its strict 
legal sense, since the seizure is an act of arbitrary 
power on the Duke's part. 

III. ii. 2. thrice-crowned. I.e., in her triple ca- 
pacity as Proserpina, Luna, and Diana. 

III. ii. 4. huntress' name. Orlando calls his mis- 
tress one of Diana's huntresses, as being a votary of 
her order because a virgin (Cowden Clarke). 

III. ii. 68. worms-meat. The idea that man's 
bodily fate is ultimately to feed worms occurs several 
times in Shakespeare ; for example, in Hamlet, IV. iii. 

III. ii. 76. incision. 'Bloodletting' by an incision 
was regarded by the Elizabethans as a cure for most 
ills. 

III. ii. 88. cucholdy. I.e., because of the symboli- 
cal horns upon his head. Another example of the 
inexhaustible Elizabethan jest concerning the imagi- 
nary horns upon the forehead of a husband whose 
wife had proved unfaithful. 

III. ii. 104. butter-women's rank. I.e., these 
verses amble monotonously along like files of butter- 
women riding nags to market. 

III. ii. 137. civil sayings. Sayings relating to 
orderly social life such as are illustrated by the ex- 
amples cited in the lines immediately following. 

III. ii. 140. span. Cf. the Prayer-Book, Psalm 
39. 6. 'Behold, thou hast made my days as it were 
a span long.' 

III. ii. 148. quintessence. A term in alchemy. 
The fifth essence of ancient and mediaeval philosophy, 
supposed to be the substance of which the heavenly 
bodies were composed, and to be actually latent in all 
things: hence, pure essence or extract, essential part 
of a thing (Murray). 

III. ii. 149. in little. Possibly, to adopt a sug- 



H4 As You Like It 

gestion made by Furness, Orlando means that Rosa- 
lind is in her own person the microcosm of every 
delightful sprite. 

III. ii. 156. Atalanta's better part. To rid herself 
of her suitors, because an oracle had warned her not 
to marry, she challenged them in turn to a footrace. 
Overtaking them in the race she would smite them in 
the back with a spear, until Hippomenes finally con- 
quered her with the aid of the three golden apples 
given him by Aphrodite. Her 'better part' clearly, 
therefore, is her swiftness of foot. 

III. ii. 164. Jupiter. Spedding altered 'Jupiter' 
to 'pulpiter' (i.e., preacher) and in this he has been 
followed by many recent editors. The change though 
ingenious is not absolutely required by the sense or 
context, and therefore, the present editor has re- 
turned to the reading of the First Folio. 

III. ii. 185. seven . . . nine. There is an old 
proverbial saying that any marvelous event will cause 
'a nine days' wonder' (Capell). 

III. ii. 187. palm-tree. The strange flora and 
fauna of the forest of Arden have already been com- 
mented upon. 

III. ii. 188. Pythagoras 9 . . . rat. Pythagoras 
believed in the transmigration of men's souls into the 
bodies of animals. As for Irish rats, there are many 
references to the power of Irish witches and rhymers 
to rhyme rats to death. 

III. ii. 195. hard . . . meet. Possibly an in- 
verted reference to the proverb 'Friends may meet, 
but mountains never greet' (Steevens). 

III. ii. 205. Good my complexion. An exclama- 
tion of Rosalind's that has puzzled commentators. 
Rosalind swears by her woman's temperament which, 
she explains, naturally contains a large measure of 
feminine curiosity, or 'Rosalind appeals to her com- 
plexion not to betray her by changing color' (Wright) . 



A s You Like It us 

III. ii. 207. One . . . discovery. I.e., 'Each inch 
of delay makes me await the impending disclosure 
with the eager anticipation one has for South Sea 
discoveries'; or, 'A moment's delay will dissolve my 
whole womanhood.' Commentators are in wide dis- 
agreement over the meaning of this sentence. 

III. ii. 217. God's making. I.e., 'or his tailor's.' 
Cf. Twelfth Night, I. v. 256. 

III. ii. 239. Gargantua's mouth. Gargantua was 
a giant who swallowed five pilgrims in a salad (Rabe- 
lais, Book I, chapter xxxviii). The story of Gar- 
gantua was known in England before any translation 
of Rabelais had appeared. 

III. ii. 241. ay . . . catechism. Celia means that 
even the shortest answers to all Rosalind's questions 
would be a longer task than to go through the Cate- 
chism (Furness). 

III. ii. 251. Jove's tree. The oak was sacred to 
Jupiter. 

III. ii. 289. goldsmiths' wives . . . rings. Rings 
which were given as love tokens had engraved upon 
the inside 'posies' or love mottoes. Cf. Hamlet, III. 
ii. 163. Jaques implies that Orlando has secured per- 
mission from the goldsmiths' wives to memorize the 
pretty sayings in the rings they had for sale. 

III. ii. 291. painted cloth. Tapestries or paint- 
ings of scenes from familiar stories, often accom- 
panied by brief explanatory legends, whence Orlando 
charges Jaques with having learned his commonplace 
sayings. Cf. Henry IV, pt. I, IV. ii. 27, 'slaves as 
ragged as Lazarus in the painted cloth.' 

III. ii. 389. quotidian. According to Euphuistio 
love-making, quotidian fevers were a symptom of 
violent love. 

III. ii. 427. dark . . . whip. This barbarous 
treatment was an Elizabethan method of dealing with 



116 As You Like It 

insanity. Cf. Malvolio's punishment in Twelfth 
Night. 

III. ii. 449. liver. The liver was regarded by 
Elizabethans as the seat of love. 

III. iii. 5. features. There is a jest here, caused 
by Audrey's misunderstanding, whose meaning has 
been lost. There are numerous conjectures but none 
satisfactory. 

III. iii. 8. capricious . . . Goths. The pun is a 
double one on the word 'goats.' 'Capricious' is de- 
rived from the Latin 'capra,' a goat. 'Goths' was 
probably pronounced by the Elizabethans to sound 
like 'goats.' Ovid dwelt, during his exile, among the 
Getae on the shore of the Black Sea. 

III. iii. 11. Jove in a thatch' d house. A reference 
to the story of Baucis and Philemon. Jove, in human 
form, was entertained unawares by the two peasants 
in their thatched house. 

III. iii. 14. strikes . . . room. I. e., 'is more over- 
whelming than an excessive bill for the poor accom- 
modation of a private room in an inn.' 

III. iii. 49. gods . . . joy. From other refer- 
ences in Elizabethan literature this phrase appears to 
be equivalent to an acknowledgment of marriage. 

III. iii. 105. '0 sweet Oliver/ Possibly a quota- 
tion from an old ballad (Warburton) or the lines 
from an old play (Capell). 

III. iv. 7. dissembling. Red or auburn hair was 
supposed to indicate a deceitful person. 

III. iv. 8. Judas's. Mediaeval tradition assigns 
red, hence a 'dissembling colour,' to Judas' hair. 

III. iv. 11. your chestnut. In this sense 'your 
chestnut' means 'chestnut in general.' 

III. iv. 16. winter's sisterhood. Used figuratively 
of nuns dedicated to the 'ice of chastity.' 

III. iv. 43. traverse. An allusion to the disgrace 



As You Like It 1 17 

of breaking one's lance across one's opponent's body, 
instead of lengthways (Onions). 

III. v. 7. dies and lives. Equivalent to live and 
die, i.e., subsist from the cradle to the grave (Arrow- 
smith). 

III. v. 39. dark. I.e., 'If you depend upon your 
beauty to illuminate you, you will be left in the dark' 
(Wright). 

III. v. 47. bugle. 'A tube shaped glass bead, 
usually black' (Murray). 

III. v. 62. Foul . . . scoffer. Abbott paraphrases : 
'foulness is most foul when its foulness consists in 
being a scoffer.' 

III. v. 81. Dead shepherd. The 'saw' which 
Phebe quotes is from Marlowe's Hero and Leander, 
which was first printed in 1598. The 'dead shepherd' 
is therefore Marlowe (d. 1593) and the reference 
to the poem gives a possible clue to the date of this 

III. v. 123. mingled damask. 'Damask' was ap- 
plied both to roses and to a silken material. Here, 
of course, the phrase refers to a color. A 'mingled 
damask' rose would be flush pink in tint. 

IV. i. 8. censure. I.e., 'Those who run to ex- 
tremes either of mirth or melancholy expose them- 
selves to the ill opinion of the everyday world worse 
even than do drunkards.' 

IV. i. 40. swam . . . gondola. Venice was the 
Mecca of the young Elizabethan fop. Rosalind 
means that without these affectations which travelers 
usually bring back from abroad, it will be difficult for 
her to believe that Jaques has really been to Venice 
and ridden in a gondola. 

IV. i. 100. Troilus. He was slain by Achilles. 
The 'Grecian club' is an invention of Rosalind's. 

IV. i. 103. Leander. He was wont to swim the 



118 As You Like It 

Hellespont to join Hero, but was drowned one night 
in a storm. Rosalind, of course, is making fun of the 
fate of these classical lovers. 

IV. i. 109. chroniclers. Thus set down in the First 
Folio, although some editors have altered it to 'coro- 
ners.' 

IV. i. 145. there's . . . goes. I.e., 'There's a 
girl who goes faster than the priest.' 

IV. i. 161. Diana . . . fountain. Diana was a 
frequent subject for Renaissance fountains. It is not 
necessary to suppose that Shakespeare had any par- 
ticular fountain in mind. The 'weeping' naturally 
refers to the water gushing from the fountain, and 
not to any sad story of Diana. 

IV. i. 174. 'Wit . . . wilt.' A phrase of prover- 
bial purport, whose meaning is now somewhat ob- 
scure. Perhaps it means, 'Whither away? Restrain 
your tendency to roam.' Or, 'Do not let your wit 
desert you.' 

IV. i. 184. husband's occasion. I.e., 'occasioned 
by her husband,' or 'the woman who cannot make her 
offence against her husband seem a special service 
to him.' 

IV. i. 216. bird . . . nest. A reference to the 
proverb, 'It is a foul bird that defiles its own nest.' 

IV. i. 220. bay of Portugal. A portion of the sea, 
of great depth, from Oporto to the headland of 
Cintra (Wright). 

IV. ii. 5. branch. A quibble on 'palm-branch,' an 
emblem of victory, and on the division of a deer's 
horn called a 'branch.' 

IV. ii. 12 S. d. The . . . burden. This apparent 
stage direction is printed in the First Folio as a part 
of the song. 

IV. iii. 18. phoenix. There was never but one 
phoenix in the world at one time. After several hun- 



As You Like It H9 

dred years this miraculous bird would burn itself to 
ashes, and from these ashes would arise another. 

IV. iii. 34. Turk . . . Christian. In the old 
Christmas mumming plays the Turkish knight chal- 
lenged the Christian to combat with many 'strange 
oaths' in the name of 'Mahound.' 

IV. iii. 54. aspect. A term from astrology. In 
'mild aspect' meant in 'a favorable conjunction.' 

IV. iii. 119. royal. The lion was supposed not 
to touch any who submitted or lay prostrate before 
him on the ground. The lion accepted this as the 
proper homage to the king of beasts. 

V. i. 49. ipse is he. Touchstone is punning on the 
current use of the phrase 'ipse he/ i.e., the man him- 
self, the man of the hour, with special reference to a 
successful lover. Cf. Lyly's Euphues (ed. Croll, p. 
92) : 'though Curio be . . . Ipse, he.' 

V. ii. 21. fair sister. 'Oliver enters into Orlando's 
humour in regarding the apparent Ganymede as 
Rosalind' (Wright). 

V. ii. 23. heart in a scarf. As we say, 'wear your 
heart on your sleeve.' The red stain of Orlando's 
wound suggested to Rosalind her gentle teasing. 

V. ii. 35. thrasonical. This adjective is derived 
from the name of a boastful character in the Eunuchus 
of Terence, and had come into English before Shake- 
speare's day. 

V. ii. 36. e I . . . overcame.' Caesar's famous dis- 
patch was f veni, vidi, vici.' 

V. ii. 44. incontinent. The second time this word 
is used it has its present-day meaning. 

V. ii. 46. clubs. 'Clubs' was the rallying cry of 
the London 'prentices, who used these weapons in 
their not infrequent riots. It is with this in mind 
that Rosalind uses the word. 

V. ii. 62-65. neither . . . good. I.e., 'nor am I 



120 As You Like It 

seeking any further favorable opinion than that de- 
gree of trust in my powers which will conduce to 
your own good.' 

V. ii. 69. damnable. I.e., Rosalind means that his 
magic was not 'black art' but lawful spells, not con- 
trary to the teachings of the Church. 

V. ii. 79. though . . . magician. A statute of 
Elizabeth provided severe penalties for magicians 
who used their art to cause harm. 

V. ii. 105. The First Folio has 'observance/ which 
already appears in line 103. Clearly, therefore, the 
second 'observance' is a careless substitution by the 
compositor. Probably the original word resembled in 
lettering 'observance' and thus caught the printer 
napping. In addition to 'obedience/ which the pres- 
ent editor follows Malone in inserting, other sugges- 
tions are 'obeisance/ 'endurance/ and 'deservance.' 

V. ii. 116. Irish wolves. Why Rosalind prefers to 
go to Ireland for her zoological allusions, — cf. her 
'Irish rats' — is not certain, unless the animals of Erin 
share in the Celtic temperament. There were no 
wolves in England at this time, but they were still to 
be found in Scotland. As between the two, an Irish 
wolf would probably make more noise. 

V. iii. 17. Song. The First Folio arranges this 
Song in a different order. The stanza 'And there- 
fore . . . prime' is there printed as part of the 
chorus. Music for this song will be found on p. 205 
of Chapell's Popular Music of the Olden Time. 

V. iv. 4. As . . . fear. I.e., 'As those who hope 
against hope and yet fear that they know their hopes 
to be vain.' Nearly all the commentators have dif- 
ferent paraphrases. The present editor offers still 
another. 

V. iv. 44. put . . . purgation. I.e., 'Let him test 
me thoroughly/ with a quibble on the medical mean- 
ing of the word. Cf. Hamlet, III. ii. 323. 



As You Like It 121 

V. iv. 47. undone three tailors. I.e., 'like a true 
courtier, I have ruined three tailors by not paying 
my bills/ 

V. iv. 56. desire . . . like. I.e., 'I desire this 
"like" of yours.' With a quibble on 'like* as an 
adj ective. 

V. iv. 95. book. There were several books on 
fencing and the proper methods to follow in challeng- 
ing an opponent. Possibly Shakespeare is here ridi- 
culing a treatise by Vincentio Saviolo (Second Book 
1594; First Book 1595). Cf. also Mercutio's mockery, 
in Romeo and Juliet, of the elaborate terms used in 
Italian fencing. Shakespeare probably had in mind 
the type and not a particular book. 

V. iv. 112. stalking-horse. A real or artificial 
horse behind which a fowler hid when pursuing his 
game. 

V. iv. 114 S. d. Hymen. The Greek and Roman 
god of marriage, represented as a young man carrying 
a torch and veil. As Rosalind's appearance is sup- 
posed to be caused by magic, she has carried out her 
plan as an allegorical masque in which she has some 
shepherd swain take the part of Hymen. 

V. iv. 121, 122. In the First Folio the pronoun 
throughout these two lines is 'his.' The alteration of 
'his' to 'her' where this occurs in the present text was 
suggested by Malone. A case can, however, by 
casuistry be made for the reading of the Folio. 

V. iv. 127. sight and shape. I.e., if all this is not 
magic and Phebe may trust the evidence of her eye- 
sight, 'why then, etc' 

V. iv. 155. Even daughter. I.e., 'you are wel- 
come both as niece and daughter.' 

Epil. 1. the lady. It was rare in Shakespeare's 
day for a female character to speak the epilogue, as 
these roles were taken by boy actors who were, 
usually, not the most important actors in the company. 



122 As You Like It 

Epil. 4. wine . . . bush. The sign of an inn 
was often the branch of a tree hung over the door. 
This gave rise to the proverb, 'good wine needs no 
bush/ for it advertises itself. 

Epii. 18. If . . . woman. Rosalind is not a 
woman, for the part is being played by a boy actor. 



APPENDIX A 

Sources of the Play 

^The source of As You Like It is, without doubt, a 
novel, or pastoral romance, by Thomas Lodge, the 
title-page of the first edition of which runs as follows : 

'Rosalynde. / Euphues Golden Le- / gacie: found 
after his death / in his Cell at Si- I lexedra. / be- 
queathed to Philautus sonnes / noursed vp with their / 
father in Eng- / land. / Fetcht from the Canaries. / 
By T. L. Gent / LONDON, / Imprinted by Thomas 
Orwin for T. G. / and John Busbie. I 1590/ 

The possibility that Shakespeare may have made 
use of an earlier play by some other author from the 
same source has been advanced by Furness to account 
for certain minor inconsistencies in Shakespeare's 
comedy. There is, however, no actual evidence of the 
existence of an earlier play. 

Modern scholars have confirmed the discovery, made 
by Dr. Zachary Grey in 1754, that the source of 
Lodge's romance was in turn The Tale of Gamelyn, a 
narrative poem of unknown authorship which had 
been interpolated into many manuscripts of Chaucer's 
Canterbury Tales. The Tale of Gamelyn is not to be 
found in any printed copy of the Canterbury Tales 
before Urry's edition of Chaucer in 1721, where it 
appeared as The Coke's (Cook's) Tale. Of course, it 
is possible that Shakespeare, as well as Lodge, had 
read this story in one of the manuscript versions. The 
chief resemblances between As You Like It and The 
Tale of Gamelyn occur in the first two hundred and 
fifty lines of the latter. Gamelyn is abused by his 
brother, emerges victorious from the wrestling match; 
and then, later in the poem, flees into a forest to join 



124 As You Like It 

some outlaws, accompanied by an old retainer named 
Adam. 

In his introduction 'To the Gentlemen Readers,' 
Lodge states that he wrote his romance on the ocean, 
a fact further implied by the phrase ' Fetch t from the 
Canaries' on the title-page. The connection of Rosa- 
lynde with the manuscript Tale of Gamelyn would 
therefore seem to be the result of memory or of a few 
notes earlier jotted down. Rosalynde is written in 
the elaborate Euphuistic prose which John Lyly had 
made famous. Euphuism is perhaps forbidding to 
modern ears, but there is much charm and delightful 
pastoral atmosphere in Rosalynde, and excellent mate- 
rial on which to found a pastoral comedy. 

In adapting Lodge's novel for the stage, Shake- 
speare, as usual, so transformed his material as to 
leave recognizable hardly more than the outlines of 
certain incidents. His touch lightened and simplified 
the whole, substituting for the labored Euphuistic 
phraseology the lively wit of the forest of Arden. 
Shakespeare made some important additions to the list 
of characters, additions which are the very life of his 
comedy. The melancholy Jaques, the inimitable 
Touchstone, Audrey and William, are, as far as we 
know to-day, characters of his invention. They are 
not to be found in Rosalynde. Rosalind herself is the 
most noteworthy illustration of Shakespeare's char- 
acter creation. In Lodge's romance she is a typical 
example of the artificial court ladies of Elizabethan 
stories, who spin far-fetched verbal fancies and quote 
often from Ovid and other Latin authors. Shake- 
speare has humanized her and made her one of his 
most charming heroines. 

The following summary of the beginning of Lodge's 
Rosalynde, together with the text of Lodge's descrip- 
tion of the wrestling match, will give some idea of 
Shakespeare's material and of the changes he made 
in it. 



As You Like It 125 

In the romance, the knight, Sir John of Bourdeaux, 
divides his estate among his three sons, Saladyne, 
Fernandine, and Rosader. The latter is the Orlando 
of Shakespeare's comedy. Saladyne, the eldest 
brother, is resentful that more property has been 
bequeathed to the younger sons than to himself. Fer- 
nandine may be ignored, for he is a scholar intent only 
upon Aristotle. His portion, therefore, may be easily 
rifled. Upon Rosader, Saladyne's chief anger falls, 
and he makes of him a footboy for the space of two 
or three years. After Rosader has borne his treat- 
ment in patience for a time, one day he encounters his 
brother in the garden and charges him with ill-treat- 
ment. Saladyne, fearing Rosader's wrath, promises 
to make amends. Soon after this episode, Torismond, 
King of France, appoints for his pleasure a day of 
wrestling, lest the common people, being idle, should 
let their thoughts run upon the remembrance of their 
old banished king, Gerismond. A Norman champion 
is found to stand against all comers. Saladyne, hear- 
ing of this, secretly plots with the Norman that if 
Rosader come within his claws he may never more 
return to quarrel with Saladyne over the inheritance. 
Saladyne then urges Rosader to enter the wrestling 
match for the honor of his famous father. Rosader 
is easily persuaded and sets forth for the court of 
Torismond. 

'At last . . . the wrastling began, and the Nor- 
man presented himselfe as a chalenger against all 
commers; but he looked like Hercules when he 
aduaunst himselfe against Achelous ; so that the furie 
of his countenance amased all that durst attempt to 
incounter with him in any deede of actiuitie: till at 
last a lustie Francklin of the Countrie came with 
two tall men, that were his Sonnes of good lyniaments 
and comely personage: the eldest of these dooing his 
obeysance to the King entered the lyst, and presented 
himselfe to the Norman, who straight coapt with him, 



126 As You Like It 

and as a man that would triumph in the glorie of his 
strength, roused himselfe with such furie, that not 
onely hee gave him the fall, but killed him with the 
weight of his corpulent personage: which the younger 
brother seeing, lept presently into the place, and 
thirstie after the reuenge, assayled the Norman with 
such valour, that at the first incounter hee brought 
him to his knees: which repulst so the Norman, that 
recouering himselfe, feare of disgrace doubling his 
strength, hee stept so stearnely to the young Franck- 
lin, that taking him vp in his armes he threw him 
against the ground so violently, that he broake his 
neck, and so ended his dayes with his brother . . . 

'With that Rosader vailed bonnet to the King, and 
lightlie lept within the lists, where noting more the 
companie than the combatant, hee cast his eye vpon 
the troupe of Ladies that glistered there like the 
starres of heauen, but at last Loue willing to make 
him as amourous as he was valiant, presented him with 
the sight of Rosalynd whose admirable beautie so 
inueagled the eye of Rosader, that forgetting him- 
selfe, hee stoode and fed his lookes on the fauour of 
Rosalynds face, which she perceiuing, blusht: which 
was such a doubling of her beauteous excellence, that 
the bashfull red of Aurora at the sight of vnac- 
quainted Phaeton was not halfe so glorious: The 
Norman, seeing this young Gentleman fettered in the 
lookes of the Ladies, draue him out of his memento 
with a shake by the shoulder; Rosader looking back 
with an angrie froune, as if he had been wakened 
from some pleasant dreame, discouered to all by the 
furie of his countenance that he was a man of some 
high thoughts : but when they all noted his youth, and 
the sweetnesse of his visage, with a general applause 
of fauours, they grieued that so goodly a young man 
should venture in so base an action : but seeing it were 
to his dishonour to hinder him from his enterprise, 
they wisht him to be graced with the palme of vie- 



As You Like It 127 

torie. After Rosader was thus called out of his 
memento by the Norman, hee roughlie clapt to him 
with so fierce an incounter, that they both fell to the 
ground, and with the violence of the fall were forced 
to breathe: in which space the Norman called to 
minde by all tokens, that this was hee whom Sala- 
dyne had appoynted him to kil; which coniecture, 
made him stretch euerie limb, & try euerie sinew, that 
working his death he might recouer the golde, which 
so bountifully was promised him. On the contrarie 
part, Rosader while he breathed was not idle, but 
still cast his eye vppon Rosalynd, who to incourage 
him with a fauour, lent him such an amorous looke, 
as might haue made the most coward desperate : which 
glance of Rosalynd so fiered the passionate desires 
of Rosader, that turning to the Norman, hee ranne 
vpon him and braued him with a strong encounter; 
the Norman receiued him as valiantly, that there was 
a sore combat, hard to iudge on whose side fortune 
would be prodigall. At last Rosader calling to minde 
the beautie of his new Mistresse, the fame of his 
Fathers honours, and the disgrace that should fall to 
his house by his missfortune, roused himselfe and 
threw the Norman against the ground, falling vpon 
his Chest with so willing a waight, that the Norman 
yeelded nature her due, and Rosader the victorie.' 1 

Rosalynde is next banished by Torismond and 
Alinda (Celia) pleads vainly in her defence. As in 
the comedy, the two girls agree to disguise them- 
selves, Rosalynde in male attire, and they set forth 
to seek the forest and Rosalynde's banished father. 
Rosalynde takes the name of Ganymede, and Alinda, 
of Aliena. After wandering for a time, they meet 
two shepherds, who offer them a cottage. Meanwhile 
Rosader, driven from home by his brother, takes with 

i Text from pp. 22-24 of vol. 1 of The Complete Works 
of Thomas Lodge, printed for the Hunterian Club, Glasgow, 
1883. 



128 As You Like It 

him an old servant, Adam Spencer, and journeys to 
the forest of Arden. 

From this point on the comedy follows the main 
incidents of the romance with equal closeness, even to 
the lions and other strange fauna. Enough has been 
given, however, to indicate the nature of the material 
Shakespeare made use of, and to give some indication 
of the method he followed in turning it into a stage 
play. 



APPENDIX B 

The History of the Play 

An entry in the Stationers' Register, dated August 
4, and belonging in all probability to the year 1600, 
lists As You Like It with three other plays 'to be 
staied' — i.e., an order to postpone publication. The 
prohibition was apparently effective, for the first 
known edition of this comedy is the text found in the 
First Folio, published in 1623. Scholars are in fairly 
general agreement that the play was written in the 
year 1600, or a few months before. The internal evi- 
dence, such as it is, tends to confirm this date. 

Practically nothing is known of the early stage 
history of As You Like It from the time of its first 
mention in the Stationers' Register until its revival 
in the eighteenth century. There are two traditions, 
neither of them substantiated by facts, relative to the 
performances of this comedy in Shakespeare's life- 
time. One of them, quoted by Oldys, is to the effect 
that Shakespeare played the part of old Adam; the 
other is that As You Like It was performed before 
King James I at Wilton House, December 2, 1603. 
Of the latter, Sir Sidney Lee affirms that there is 'no 
tangible evidence' to show what play or plays were 



As You Like It 129 

represented at Wilton House upon this occasion of 
the visit of the King's Players. 

On January 9, 1723, Charles Johnson, poetaster 
and tavern-keeper in Bow Street, brought out at 
Drury Lane an adaptation entitled Love in a Forest 
(published the same year), which ran for six nights. 
Colley Cibber played Jaques; Wilks, Orlando, and 
Mrs. Booth, Rosalind. This version was wretched 
stuff. It is chiefly notable for the omission of Touch- 
stone, for making Jaques fall in love with Celia, and 
for introducing, into the fifth act, the Pyramus and 
Thisbe interlude from A Midsummer Night's Dream. 
In 1739 there was published an even more disguised 
form of the comedy called The Modern Receipt; or 
A Cure for Love, by one 'J. C (James Carrington, 
according to Halliwell). This was a modernized 
paraphrase with the scene laid at Liege and environs. 
The names of the characters were altered. Nothing 
seems to be known about a stage performance of this 
adaptation. 

It was not until December 20, 1740, that Shake- 
speare's As You Like It was revived. This produc- 
tion was at Drury Lane. The obscurity concerning 
the earlier history of the comedy is well illustrated by 
the two entries in Genest, the accurate historian of 
the stage, concerning the revival. In one place he 
states that it was 'not acted after Charles II until 
1740,' and under the entry for 1740, he notes 'not 
acted 40 years.' During the season of its revival in 
1740, however, it was played about twenty-five times. 
Quin was the Jaques, Mrs. Pritchard, Rosalind, and 
the sprightly Kitty Clive, Celia. From this time on 
to the present, the history of the stage lists perform- 
ances as often at least as once in four years, and, in 
many instances, in successive seasons. 

The eighteenth century productions were character- 
ized by well-balanced casts in which the roles of 
Jaques, Orlando, Touchstone, Rosalind, and Celia 



130 As You Like It 

were each assigned some actor of note. Among the 
more famous revivals of this century may be recalled 
Mrs. Woffington's Rosalind, together with Macklin's 
Touchstone, at Drury Lane, November, 1747. She 
had earlier played Rosalind in October, 1741,* to 
Theophilus Cibber's Jaques. Francis Gentleman, 
writing in 1770 of this charming actress's Rosalind, 
found that her 'utterance and deportment were too 
strongly tinctured with affectation' to suit the sim- 
plicity of the forest of Arden. Peg Woffington's fame 
was derived from playing more sophisticated roles. 
Again, at Drury Lane, in October, 1767, Mrs. Barry 
(also known at various times as Mrs. Dancer and Mrs. 
Crawford) played Rosalind, and King, Touchstone. 
John Taylor, writing the Records of My Life, in 
1832-33, described her Rosalind as 'the most perfect 
representation of the character I ever witnessed. It 
was tender, animated, and playful to the highest 
degree.' The prompt-book appears to have been 
standardized by this performance.! Mrs. Barry intro- 
duced into the fourth act the cuckoo song from All's 
Well That Ends Well (the music by Dr. Arne), and 
this alteration remained a part of the stage text for 
many years. This is the most notable deviation from 
the text of the First Folio which As You Like It 
underwent until recent times, apart from the 'cuts' 
to reduce the actual time of acting to one hour and 
forty-nine minutes. Although produced many times 
during the eighteenth century, Mrs. Inchbald, in 
1808, said of this comedy: 'on the stage it is never 
attractive, except when some actress of very superior 
skill performs the part of Rosalind.' This complaint 
is borne out by the fact that the eighteenth century 
runs were less than average length for popular plays 
even with the most distinguished actresses, in turn, 
playing Rosalind. 

Toward the close of the eighteenth century, how- 
ever, there were two famous productions of As You 



As You Like It isi 

Like It. At Drury Lane, on April 30, 1785, Uhe 
incomparable; Mrs. Siddons chose Rosalind for her 
benefit performance and played the role four times 
that season. Boaden said of her: 'Rosalind was one 
of the most delicate achievements of Mrs. Siddons. 
The common objection to her comedy, that it was 
only the smile of tragedy, made the express charm of 
Rosalind.' , The other important Rosalind was that of 
Mrs. Jordan, to the Orlando of Kemble, at Drury 
Lane, April, 1787. /Campbell informs his readers that 
here alone in her professional career, Mrs. Siddons 
found a rival who beat her out of a character. Mrs. 
Jordan 'had the naivete of it to a degree that Shake- 
speare himself, if he had been a living spectator, 
would have gone behind the scenes to have saluted 
her for her success in it.') 

In America, As You Like It was first performed at 
New York, at the John Street Theatre, July 14, 1786. 
Mrs. Kenna played Rosalind and Hallam, Touch- 
stone. It was again played at the same theatre on 
June 21, 1796, with Joe Jefferson (the grandfather 
of the Joseph Jefferson of Rip Van Winkle fame) as 
Le Beau. There was only one otjier important pro- 
duction of this comedy in America during the eight- 
eenth century: that of January 29, 1798, when the 
Park Theatre, New York, was opened. 

The great stage popularity of As You Like It 
really began in the nineteenth century and has con- 
tinued to the present day. More than sixty impor- 
tant revivals were witnessed in the nineteenth cen- 
tury. We find, likewise, a gradual change from the 
stock company method of production, which assigned 
the leading roles to well-known actors, to the 'star' 
method which emphasizes one, or at most two, of the 
characters. The latter was illustrated in Kemble' s 
performance of Jaques at Covent Garden, October, 
1805, with Miss Smith as Rosalind. The comedy now 
alternates as a 'star' play, with sometimes a great 



132 As You Like It 

actor playing Jaques, or, again, a famous actress 
stressing the character of Rosalind. (. Space does not 
permit of reference to all the numerous performances 
of this century; only the more important will be men- 
tioned. ) 

Following Kemble, the next actor of note to essay 
Jaques was Macready, at Drury Lane, January 11, 
1820, the Rosalind by a 'young lady.' Macready 
again revived it at Covent Garden in October, 1842, 
with Mrs. Stirling as Celia. Colman described this 
as 'the most superb production of As You Like It the 
world has ever seen or ever will see.' ) By far the most 
famous Rosalind of the nineteenth century was Helen 
Faucit (Lady Martin). She first performed the com- 
edy on March 18, 1839, at Covent Garden, and made 
her last appearance in it at Drury Lane, April 23, 
1875, although she played it once more at the Theatre 
Royal, Manchester, on October 2, 1879. Macready 
called her Rosalind 'perfect/ Sir Henry Irving said 
of it: 'a more brilliant and exquisite conception of 
Rosalind never entered the imagination of man.' 

One alteration in the text was frequently adopted 
in the nineteenth century. The speeches of the First 
Lord in Act II., Scene i., Kemble gave to Jaques, a 
custom in which he was followed by many others. 
This change, which, curiously enough, Johnson had 
anticipated in his version, Love in a Forest, is not a 
judicious one. 

Charlotte Cushman played Rosalind for the first 
time in London in 1845, appearing in New York, at 
the Astor Place Theatre, in this role, January 8, 1850. 
Among other famous actors and actresses of the 
period were: Charles Kean as Jaques, 1851, W. Wal- 
lack, 1854, Barry Sullivan, 1855, and Samuel Phelps, 
at Sadler's Wells, in 1857. Phelps introduced the 
custom of producing Shakespeare with gorgeous 
scenery and with costumes supposed to be appro- 
priate to the historical settings of the plays. \ From 



As You Like It 133 

his time onwards the tendency has been to make 
Shakespearean productions gorgeous pageants, neces- 
sitating compression of several scenes into one and 
other questionable alterations of the text. \ 

The most noteworthy of comparatively recent pro- 
ductions were: the Rosalind of Mrs. Kendall to her 
husband's Orlando 'and the Jaques of Hermann Vezin 
at the Opera Comique, London, 1875; ten years later 
she played Rosalind with John Hare as Touchstone. 
For this performance Alfred Cellier wrote new inci- 
dental music. Mrs. Langtry first appeared as Rosa- 
lind in 1882, with Kyrle Bellew as Orlando. At 
Stratford-on-Avon, in August, 1885, the beautiful 
American actress, Mary Anderson, opened the Shake- 
speare Memorial Theatre with a performance of her 
Rosalind. She was noted for her earnest candor and 
demure reserve in the part. 

The American manager, Augustin Daly, gave sev- 
eral productions of As You Like It in New York, as 
well as at Stratford-on-Avon and London. By the 
playgoers of the last generation, Daly's productions 
of Shakespeare were looked upon with respect little 
short of idolatry. As a matter of fact, he took many 
liberties with the text and had a fondness for inap- 
propriate musical accompaniment to the longer 
speeches. He was, on the other hand, aided by a 
company of excellent artists, such as Miss Ada Rehan 
and John Drew. In his acting version of As You Like 
It, he omitted Sir Oliver Martext and the Second 
Lord, and rearranged the incidents of the fifth act. 
On the credit side, he omitted the cuckoo song, re- 
stored the speeches of the First Lord in II. i., and the 
Masque of Hymen, which latter was not generally 
played, except by Mrs. Langtry, in nineteenth century 
versions. Miss Ada Rehan first played Rosalind 
under Daly's management, at New York, on Decem- 
ber 17, 1889, and in London, in April, 1894. Miss 
Rehan acted Rosalind as a young girl enjoying a 



134 As You Like It 

merry woodland frolic. William Winter says her 
Rosalind was 'all sweetness and brilliancy.' 

Of late years, As You Like It has been frequently 
seen upon both the amateur and professional stages. 
It likewise crossed the Channel to the Continent. 
George Sand wrote, in 1856, a free French transla- 
tion under the title, Comme il vous plaira, which was 
played in Paris. In Germany it is also a familiar 
comedy — at least, in German translations. In Amer- 
ica, Julia Arthur, 1898, E. H. Sothern and Julia Mar- 
lowe, 1910, and Margaret Anglin, 1914, have con- 
tinued the stage history of this play. In England, 
Sir George Alexander, Ben Greet, Sir F. H. Benson, 
Fred Terry and Julia Neilson, Oscar Ashe and Lily 
Brayton, Sir Johnston Forbes-Robertson, Nigel Play- 
fair, and others have given acceptable and often beau- 
tiful performances. Perhaps the most remarkable 
chapter in all its history occurred during the Great 
War. At Ruhleben, the English civilian prison camp 
in Germany, Welland produced the forest scenes with 
actors chosen from among the prisoners of war. 



APPENDIX C 

The Text 

There is no known quarto edition of As You Like 
It. The earliest edition is, therefore, that of the 
First Folio of 1623. 

m The text of the present edition is by permission 
that of Craig's Oxford Shakespeare, published by the 
Oxford University Press. Deviations from the Ox- 
ford text have been made in a few places in which 
the late Mr. Craig adopted modern emendations. 
The reading of the First Folio has been followed 
wherever the sense does not clearly demand an altera- 
tion. Minor changes of spelling and punctuation have 
not been listed. 

The stage directions are those of the First Folio, 
with all supplementary directions enclosed in square 
brackets. 

The list of departures from the Oxford text fol- 
lows, Craig's readings being those after the colons : 

Li. 46 him: he 

I. ii. 150 see: feel 

I. ii. 177 princess calls: princes call 

I. ii. 282 misconsters : misconstrues 

I. ii. 289 taller: smaller 

II. i. 5 not : but 

II. i. 5 Adam.: Adam, 

II. i. 6 The seasons' difference — ,: the seasons' dif- 
ference ; 

II. i. 9 smile and say — : smile and say 

II. i. 18 Ami. I would not change it: This is as- 
signed by Craig to Duke Senior 

II. iii. 8 bonny: bony 

III. ii. 279 moe: more 

IV. i. 109 chroniclers : coroners 

IV. iii. 89 the woman low: but the woman low, 

IV. iii. 106 an old oak: an oak 

V. ii. 105 obedience: obeisance 

V. ii. 113 Why do you speak too: Who do you speak 
to, 



APPENDIX D 

Suggestions for Collateral Reading 

W. W. Greg: Lodge's f Rosalynde,' being the origi- 
nal of Shakespeare's 'As You Like It.' The Shake- 
speare Classics. New York and London, 1907. 

Richard Grant White: Studies in Shakespeare. 
Boston, 1886. See pp. 233 ff. 

Helena Faucit, Lady Martin: On Some of Shake- 
speare's Female Characters. 7th ed. London, 1904. 
See pp. 227 ff. (1st ed., 1885.) 

Mrs. Anna Jameson: Characteristics of Women. 
Boston, n. d., Riverside Press. See pp. 110 ff. (1st 
ed., London, 1832; revised and enlarged, 1833.) 

Louis Lewes : The Women of Shakespeare. Trans- 
lated from the German by Helen Zimmern. New 
York, 1895. See pp. 224 ff. 

Stopford A. Brooke: On Ten Plays of Shakespeare. 
New York, 1904. As You Like It, pp. 155 ff. 

H. N. Hudson: Shakespeare: His Life, Art, and 
Characters. 4th ed., revised. New York, 1915. See 
pp. 330 ff. 

William Winter: Shakespeare on the Stage. Sec- 
ond series. New York, 1914. As You Like It, pp. 
215 ff. 

W. W. Greg: Pastoral Poetry and Pastoral Drama. 
London, 1906. 

H. H. Furness: A New Variorum Edition of 
Shakespeare. As You Like It. 1st ed. Philadel- 
phia, 1890. Contains portions of The Tale of 
Gamelyn and Lodge's Rosalynde in an appendix. 



INDEX OF WORDS GLOSSED 



(Figures in full-faced type refer to page-numbers) 



a: 95 (V. iii. 16) 

abus'd in sight: 70 (III. v. 

79) 
address'd: 103 (V. iv. 163) 
adventure: 31 (II. iv. 44) 
after it: 69 (III. v. 45) 
after kind: 49 (III. ii. 110) 
against: 78 (IV. i. 158) 
Aliena: 23 (I. iii. 131) 
allottery: 3 (I. i. 78) 
all points: 22 (I. iii. 119) 
all . . . stage: 42 (II. vii. 

139) 
along: 24 (II. i. 30) 
am remember'd: 72 (III. v. 

131) 
an: 41 (II. vii. 100) 
anatomize: 6 (I. i. 165) 
anon: 25 (II. i. 52) 
antic: 24 (II. i. 31) 
any: 12 (I. ii. 150) 
apish: 60 (III. ii. 438) 
are for you: 95 (V. iii. 10) 
argument: 45 (III. i. 3) 
as: 23 (II. i. 6) 
as . . . fear: 97 (V. iv. 4) 
aspect: 83 (IV. iii. 54) 
Atalanta's better part: 51 

(III. ii. 156) 
at an instant: 21 (I. iii. 77) 
atomies: 54 (III. ii. 246) 
atone: 101 (V. iv. 117) 
at school: 1 (I. i. 6) 
attorney: 76 (IV. i. 97) 
audience: 54 (III. ii. 253) 
a week: 29 (II. iii. 74) 
ay . . . catechism: 54 (III. 

ii. 241) 



bandy: 90 (V. i. 62) 
bastinado: 90 (V. i. 61) 
batler: 31 (II. iv. 48) 
bawdry: 64 (III. iii. 103) 
bay of Portugal: 79 (IV. i. 

220) 
becomes: 54 (III. ii. 258) 
beggarly: 35 (II. v. 29) 
beholding: 74 (IV. i. 62) 
bell-wether: 48 (III. ii. 86) 
be naught: 2 (I. i. 38) 
'be . . . presents': 12 (I. ii. 

132) 
be ware: 32 (II. iv. 59) 
bestows himself: 84 (IV. iii. 

88) 
better parts: 16 (I. ii. 266) 
better world: 18 (I. ii. 301) 
bills: 12 (I. ii. 132) 
bird . . . nest: 79 (IV. i. 

216) 
blood: 99 (V. iv. 59) 
blue eye: 59 (III. ii. 398) 
bob: 39 (II. vii. 55) 
bolden'd: 40 (II. vii. 91) 
bonny priser: 27 (II. iii. 8) 
book: 100 (V. iv. 95) 
bounden: 18 (I. ii. 303) 
bounds of feed: 33 (II. iv. 

84) 
bow: 64 (III. iii. 85) 
branch: 80 (IV. ii. 5) 
brave: 66 (III. iv. 41) 
brawls: 24 (II. i. 32) 
breather: 56 (III. ii. 298) 
bringest: 55 (III. ii. 264) 
broken music: 12 (I. ii. 151) 



138 



As You Like It 



brook . . . well: 6 (I. i. 

142) 
buckles in: 50 (III. ii. 141) 
bugle: 69 (III. v. 47) 
burden: 80 (IV. ii. 12 S. d.) 
burthen: 55 (III. ii. 263) 
butchery: 28 (II. iii. 27) 
but justly: 16 (I. ii. 261) 
butter- women's rank: 49 

(III. ii. 104) 
by: 55 (III. ii. 269) 

cage of rushes: 59 (III. ii. 

394) 
calling: 16 (I. ii. 250) 
call ... in question: 90 (V. 

ii. 6) 
candle: 45 (III. i. 6) 
capable impressure: 68 (III. 

v. 23) 
capon: 42 (II. vii. 154) 
capricious . . . Goths: 61 

(III. iii. 8) 
carlot: 71 (III. v. 108) 
cart: 50 (III. ii. 115) 
cast: 65 (III. iv. 15) 
cast away: 79 (IV. i. 195) 
censure: 73 (IV. i. 8) 
change: 22 (I. iii. 105) 
chanticleer: 38 (II. vii. 30) 
character: 46 (III. ii. 6) 
chase: 19 (I. iii. 34) 
check: 78 (IV. i. 175) 
chiding: 24 (II. i. 7) 
chopped: 31 (II. iv. 49) 
chroniclers: 76 (IV. i. 109) 
churlish: 24 (II. i. 7) 
cicatrice: 68 (III. v. 23) 
circumstantial: 100 (V. iv. 

86) 
civet: 48 (III. ii. 67) 
civil sayings: 50 (III. ii. 

137) 
clap into 't roundly: 95 (V. 

iii. 12) 
cleanliest shift: 75 (IV. i. 

80) 



clear all: 7 (I. i. 181) 

clown: 32 (II. iv. 67) 

clubs: 92 (V. ii. 46) 

cods: 32 (II. iv. 52) 

combine: 103 (V. iv. 157) 

come off: 8 (I. ii. 32) 

comfort: 36 (II. vi. 5) 

comfortable: 36 (II. vi. 9) 

compact of jars: 37 (II. vii. 

5) 
complain of: 47 (III. ii. 31) 

concave: 66 (III. iv. 24) 

conceit: 36 (II. vi. 8); 92 

(V. ii. 60) 
condition: 17 (I. ii. 281) 
conduct: 103 (V. iv. 164) 
confines: 24 (II. i. 24) 
conjure: 105 (Epil. 12) 
conn'd: 55 (III. ii. 290) 
constant: 72 (III. v. 123) 
contrive: 86 (IV. iii. 136) 
convertites: 104 (V. iv. 191) 
cony: 58 (III. ii. 361) 
cope: 26 (II. i. 67) 
copulatives: 99 (V. iv. 58) 
cote: 33 (II. iv. 84) 
couching: 85 (IV. iii. 117) 
could: 16 (I. ii. 264) 
countenance: 1 (I. i. 19) 
counter: 39 (II. vii. 63) 
countercheck: 100 (V. iv. 

85) 
cours'd: 25 (II. i. 39) 
courtesy of nations: 3 (I. i. 

49) 
courtship: 58 (III. ii. 368) 
cousin: 13 (I. ii. 166) 
cover: 35 (II. v. 31) 
coz: 7 (I. ii. 1) 
crooked-pated: 49 (III. ii. 

87) 
cross . . . money: 30 (II. iv. 

12) 
cry . . . mercy: 69 (III. v. 

61) 
cuckoldy: 49 (III. ii. 88) 
curtle-axe: 22 (I. iii. 120) 



As You Like It 



139 



curvets unseasonably: 54 
(III. ii. 260) 

damnable: 92 (V. ii. 69) 

dark: 69 (III. v. 39) 

dark . . . whip: 60 (III. ii. 

427) 
dead shepherd: 70 (III. v. 

81) 
dearly: 19 (I. iii. 36) 
deceived: 14 (I. ii. 212) 
defence: 63 (III. iii. 65) 
defied: 105 (Epil. 21) 
degrees: 92 (V. ii. 42) 
desert: 24 (II. i. 23) 
deserve well: 19 (I. iii. 38) 
desire . . . like: 99 (V. iv. 

56) 
desperate: 98 (V. iv. 32) 
Destinies: 11 (I. ii. 112) 
dial: 38 (II. vii. 20) 
Diana . . . fountain: 78 (IV. 

i. 161) 
dies and lives: 67 (III. v. 7) 
disable: 74 (IV. i. 36) 
dislike: 99 (V. iv. 73) 
disputable: 35 (II. v. 35) 
dissembling: 65 (III. iv. 7) 
diverted blood: 28 (II. iii. 

37) 
do . . . ends: 103 (V. iv. 

177) 
dog-apes: 35 (II. v. 27) 
dole: 12 (I. ii. 140) 
doom: 21 (I. iii. 86) 
doth sway: 46 (III. ii. 4) 
doublet and hose: 53 (III. 

ii. 207) 
doubts: 98 (V. iv. 25) 
dry: 38 (II. vii. 39) 
ducdame: 36 (II. v. 54) 
duke's daughter: 5 (I. i. 

112) 
dulcet diseases: 99 (V. iv. 

68) 



eat: 21 (I. iii. 77) 
effigies: 44 (II. vii. 196) 
embossed: 39 (II. vii. 67) 
emulation: 73 (IV. i. 12) 
enchantingly beloved: 7 (I. 

i. 177) 
enforcement: 41 (II. vii. 

118) 
engage: 103 (V. iv. 173) 
entame: 69 (III. v. 48) 
entertain: 60 (III. ii. 443) 
entreated: 13 (I. ii. 160) 
envenoms: 28 (II. iii. 15) 
envious: 16 (I. ii. 258) 
erring: 50 (III. ii. 139) 
estate: 91 (V. ii. 13) 
Ethiop: 82 (IV. iii. 36) 
even: 97 (V. iv. 18) 
even daughter: 102 (V. iv. 

155) 
expediently: 45 (III. i. 18) 
extent: 45 (III. i. 17) 
extermin'd: 70 (III. v. 89) 
eyne: 83 (IV. iii. 51) 

faction: 90 (V. i. 62) 
fain: 74 (IV. i. 61) 
fair sister: 91 (V. ii. 21) 
faithfully: 44 (II. vii. 195) 
falls: 67 (III. v. 5) 
fancy: 68 (III. v. 29) 
fancy-monger: 58 (III. ii. 

387) 
fantastical: 60 (III. ii. 438) 
fantasy: 31 (II. iv. 31) 
fashion: 25 (II. i. 56) 
favour: 84 (IV. iii. 88) 
features: 61 (III. iii. 5) 
feeder: 33 (II. iv. 100) 
feign: 62 (III. iii. 24) 
feigning: 62 (III. iii. 22) 
fells: 47 (III. ii. 56) 
first-born of Egypt: 36 (II. 

v. 61) 
fleet: 5 (I. i. 126) 
flux: 48 (III. ii. 71) 



140 



As You Like It 



flux of company: 25 (II. i. 

52) 
foil: 5 (Li. 138) 
fools: 24 (II. i. 22) 
fool's bolt: 99 (V. iv. 67) 
fools . . . circle: 36 (II. v. 

59) 
fools . . . silenced: 10 (I. ii. 

96) 
for: 30 (II. iv. S. d.) 
forest of Arden: 5 (I. i. 

122) 
foresters: 80 (IV. ii. S. d.) 
forked heads: 24 (II. i. 24) 
forswear: 60 (III. ii. 443) 
Fortune: 9 (I. ii. 48); 9 (I. 

ii. 50) 
Fortune . . . wheel: 8 (I. ii. 

36) 
foul: 62 (III. iii. 41) 
foul . . . scoffer: 69 (III. v. 

62) 
free: 40 (II. vii. 85) 
f reestone-colour'd : 82 (IV. 

iii. 26) 
freshly: 54 (III. ii. 244) 
full: 46 (III. ii. 4) 
function: 40 (II. vii. 79) 
furnish'd: 54 (III. ii. 260) 

gaUed: 39 (II. vii. 50) 
gamester: 7 (I. i. 173) 
Ganymede: 23 (I. iii. 128) 
Gargantua's mouth: 54 (III. 

ii. 239) 
general: 39 (II. vii. 69) 
gentle: 7 (I. i. 175) 
gentle condition of blood: 2 

(I. i. 48) 
gesture: 92 (V. ii. 70) 
giant-rude: 82 (IV. iii. 35) 
gilded: 85 (IV. iii. 110) 
go alone: 7 (I. i. 170) 
God 'ild: 64 (III. iii. 81) 
gods . . . joy: 63 (III. iii. 

49) 



God's making: 53 (III. ii. 

217) 
God warn us: 75 (IV. i. 79) 
God ye: 88 (V. i. 16) 
golden world: 5 (I. i. 127) 
goldsmiths' wives . . . rings: 

55 (III. ii. 289) 
good my complexion: 53 

(III. ii. 205) 
good observance: 54 (III. 

ii. 248) 
go to: 77 (IV. i. 135) 
grace: 20 (I. iii. 57); 71 

(III. v. 100) 
grace himself: 6 (I. i. 158) 
grace me: 92 (V. ii. 65) 
gracious: 14 (I. ii. 202) 
graff: 50 (III. ii. 125) 
gravelled: 75 (IV. i. 76) 
greasy: 25 (II. i. 55) 
gross: 79 (IV. i. 205) 
grow: 4 (I. i. 92) 

habit: 56 (III. ii. 316) 
hand: 82 (IV. iii. 25) 
hard: 57 (III. ii. 334) 
hard . . . meet: 52 (III. ii. 

195) 
haunt: 24 (II. i. 15) 
have with you: 17 (I. ii. 

273) 
having: 59 (III. ii. 401) 
headed evils: 39 (II. vii. 67) 
hearing of: 37 (II. vii. 4) 
heart: 54 (III. ii. 262) 
heart in a scarf: 91 (V. ii. 

23) 
heavenly synod: 51 (III. ii. 

159) 
hem: 19 (I. iii. 19) 
'hem' . . . him: 19 (I. iii. 20) 
Hercules . . . speed: 15 (I. 

ii. 226) 
hinds: 2 (I. i. 20) 
his: 43 (II. vii. 163) 
his . . . forwardness: 13 (I. 

ii. 160) 



As You Like It 



141 



hold: 88 (V. i. 14) 
<holla': 54 (III. ii. 259) 
honest: 9 (I. ii. 42) 
honesty: 33 (II. iv. 92) 
horn-beasts: 63 (III. iii. 53) 
house: 15 (I. ii. 245) 
humorous: 17 (I. ii. 283); 

73 (IV. i. 21) 
humour: 46 (III. ii. 20) 
huntress' name: 46 (III. ii. 

4) 
hurtling: 86 (IV. iii. 133) 
husband's occasion: 78 (IV. 

i. 184) 
hyen: 78 (IV. i. 163) 
Hymen: 101 (V. iv. S. d.) 

I: 7 (I. ii. 4) 

I ... it: 24 (II. i. 18) 

'I . . . overcame': 91 (V. ii. 

36) 
i' faith: 53 (III. ii. 229) 
if . . . woman: 105 (Epil. 18) 
ill-favouredly: 9 (I. ii. 43) ; 

55 (III. ii. 280) 
ill-inhabited: 61 (III. iii. 

10) 
in . . . invention: 35 (II. v. 

47) 
in corners thrown: 28 (II. 

iii. 42) 
in despite of: 19 (I. iii. 26) 
in lieu of: 29 (II. iii. 65) 
in little: 51 (III. ii. 149) 
in my voice: 33 (II. iv. 88) 
in parcels: 72 (III. v. 125) 
in respect of: 48 (III. ii. 

69) 
in that kind: 24 (II. i. 27) 
incision: 48 (III. ii. 76) 
incontinent: 92 (V. ii. 44) 
inconvenient: 93 (V. ii. 74) 
indented glides: 85 (IV. iii. 

114) 
infect: 50 (III. ii. 121) 
inland: 40 (II. vii. 96) 
insinuate: 105 (Epil. 9) 



instrument . . . strains: 83 

(IV. iii. 69) 
intelligence: 20 (I. iii. 50) 
intendment: 6 (I. i. 142) 
invectively: 25 (II. i. 58) 
ipse is he: 89 (V. i. 49) 
Irish wolves: 94 (V. ii. 116) 

Jaques: 1 (I. i. 5) 
jealous: 42 (II. vii. 151) 
jointure: 74 (IV. i. 58) 
Jove in a thatch'd house: 61 

(III. iii. 11) 
Jove's tree: 54 (III. ii. 251) 
Judas's: 65 (III. iv. 8) 
Juno's swans: 21 (I. iii. 78) 
Jupiter: 51 (III. ii. 164) 
just: 55 (III. ii. 282) 
just occasion: 86 (IV. iii. 

131) 

kill ... up: 26 (II. i. 62) 
kind: 27 (II. iii. 10) 
kindle . . . thither: 7 (I. i. 

182) 
kindled: 58 (III. ii. 362) 
kindly: 29 (II. iii. 53) 
kindness: 86 (IV. iii. 130) 
knoU'd: 41 (II. vii. 114) 

lady the epilogue: 105 (Epil. 

1) 
laid apart: 82 (IV. iii. 45) 
laid . . . trowel: 11 (I. ii. 

113) 
large . . . charter: 39 (II. 

vii. 48) 
Leander: 76 (IV. i. 103) 
learn: 7 (I. ii. 6) 
lectures: 58 (III. ii. 370) 
leer: 75 (IV. i. 69) 
license of free foot: 39 (II. 

vii. 68) 
likelihood: 20 (I. iii. 60) 
limn'd: 44 (II. vii. 197) 
lin'd: 49 (III. ii. 98) 
lisp: 74 (IV. i. 36) 



142 



As You Like It 



liver: 61 (III. ii. 449) 
living . . . madness: 60 (III. 

ii. 445) 
look: 35 (II. v. 33) 
looks successfully: 13 (I. ii. 

164) 
look to 't: 6 (I. i. 156) 
low: 84 (IV, iii. 89) 
lusty: 71 (III. v. 121) 

make: 78 (IV. i. 168) 
make you: 2 (I. i. 31) 
makes: 54 (III. ii. 235) 
manage: 1 (I. i. 13) 
manners: 47 (III. ii. 44) 
marketable: 11 (I. ii. 103) 
marry: 2 (I. i. 35) 
material: 62 (III. iii. 34) 
matter: 26 (II. i. 68) 
means: 29 (II. iii. 51) 
measure: 98 (V. iv. 45) 
measured swords: 100 (V. 

iv. 91) 
medlar: 50 (III. ii. 126) 
meed: 29 (II. iii. 58) 
memory: 27 (II. iii. 3) 
mend: 33 (II. iv. 95); 79 

(IV. i. 199) 
mercy: 45 (III. i. 2) 
mere: 43 (II. vii. 165) 
mettle: 40 (II. vii. 82) 
mewling: 42 (II. vii. 144) 
mines: 2 (I. i. 22) 
mingled damask: 72 (III. 

v. 123) 
misconsters: 17 (I. ii. 282) 
misprised: 7 (I. i. 180) 
misused: 79 (IV. i. 213) 
mockable: 47 (III. ii. 50) 
modern instances: 43 (II. 

vii. 156) 
moe: 55 (III. ii. 279) 
monster: 8 (I. ii. 24) 
moonish: 60 (III. ii. 436) 
moral: 38 (II. vii. 29) 
moralize: 25 (II. i. 44) 



mortal in folly: 32 (II. iv. 

55) 
motley: 37 (II. vii. 13) 
my only suit: 38 (II. vii. 

44) 
myself alone: 55 (III. ii. 

271) 

names: 34 (II. v. 21) 
napkin: 84 (IV. iii. 95) 
nativity: 74 (IV. i. 38) 
natural: 9 (I. ii. 53) 
natural brother: 6 (I. i. 

153) 
nature in love: 32 (II. iv. 

55) 
naught: 10 (I. ii. 70); 46 

(III. ii. 15) 
needless: 25 (II. i. 46) 
neighbour bottom: 84 (IV. 

iii. 80) 
neither . . . good: 92 (V. ii. 

62) 
new-fall'n: 103 (V. iv. 183) 
new-fangled: 78 (IV. i. 158) 
nice: 73 (IV. i. 16) 
noble device: 7 (I. i. 176) 
nominate: 100 (V. iv. 92) 
nor ... not: 29 (II. iii. 50) 
note: 35 (II. v. 46) 
no . . . yours: 27 (II. iii. 

12) 
nurture: 40 (II. vii. 97) 

obscured: 98 (V. iv. 34) 
observance: 94 (V. ii. 103) 
odds . . . man: 13 (I. ii. 171) 
od's: 69 (III. v. 43) 
o'errun: 90 (V. i. 62) 
of consent and sufferance: 

26 (II. ii. 3) 
offer: 48 (III. ii. 85) 
offer'st fairly: 103 (V. iv. 

174) 
office: 9 (I. ii. 45) 
old tale: 11 (I. ii. 129) 



As You Like It 



143 



omittance is no quittance: 

72 (III. v. 133) 
one . . . discovery: 53 (III. 

ii. 207) 
only: 14 (I. ii. 206) ; 95 (V. 

iii. 14) 
oppress'd: 42 (II. vii. 132) 
O sweet Oliver: 65 (III. iii. 

105) 
out: 75 (IV. i. 78) 
out . . . match: 49 (III. ii. 

88) 
out . . . whooping: 52 (III. 

ii. 204) 
outface it: 22 (I. iii. 125) 
owe . . . hate: 48 (III. ii. 

79) 

painted: 23 (II. i. 3) 
painted cloth: 56 (III. ii. 

291) 
palm-tree: 52 (III. ii. 187) 
pantaloon: 43 (II. vii. 158) 
pard: 42 (II. vii. 150) 
parlous: 47 (III. ii. 46) 
parts: 27 (II. ii. 13) 
passing short: 72 (III. v. 

138) 
passion of earnest: 87 (IV. 

iii. 173) 
pathetical: 79 (IV. i. 202) 
patterns: 76 (IV. i. 103) 
peascod: 31 (II. iv. 51) 
peevish: 71 (III. v. 110) 
penalty of Adam: 23 (II. i. 

5) 
perforce: 8 (I. ii. 21) 
perpend: 48 (III. ii. 70) 
phoenix: 81 (IV. iii. 18) 
place: 28 (II. iii. 27) 
point-device: 59 (III. ii. 

407) 
poke: 38 (II. vii. 20) 
policy: 90 (V. i. 63) 
poor a: 1 (I. i. 2) 
power: 103 (V. iv. 163) 
practices: 28 (II. iii. 26) 



practise: 6 (Li. 158) 
pray: 84 (IV. iii. 77) 
presence: 12 (I. ii. 131) 
presentation: 101 (V. iv. 

113) 
presently: 36 (II. vi. 11) 
prevents: 75 (IV. i. 63) 
prime: 96 (V. iii. 34) 
prodigal portion: 2 (I. i. 

41) 
profess: 60 (III. ii. 431) 
promise: 16 (I. ii. 261) 
proper: 12 (I. ii. 130) 
properer: 69 (III. v. 51) 
property: 47 (III. ii. 27) 
propositions: 54 (III. ii. 

247) 
puisny: 66 (III. iv. 44) 
purchase: 58 (III. ii. 364) 
pure blush: 8 (I. ii. 32) 
purgation: 20 (I. iii. 56) 
purlieus: 84 (IV. iii. 78) 
put on: 11 (I. ii. 100) 
put . . . purgation: 98 (V. 

iv. 44) 
Pythagoras' . . . rat: 52 

(III. ii. 188) 

quail: 27 (II. ii. 20) 
question: 103 (V. iv. 168) 
quintain: 16 (I. ii. 268) 
quintessence: 51 (III. ii. 

148) 
quip modest: 99 (V. iv. 79) 
quit: 45 (III. i. 11) 
quotidian: 59 (III. ii. 389) 

rail'd . . . Fortune: 37 (II. 

vii. 16) 
rang'd: 21 (I. iii. 71) 
rank: 11 (I. ii. 114) 
rank of osiers: 84 (IV. iii. 

81) 
ranker: 75 (IV. i. 87) 
rankness: 4 (I. i. 93) 
rascal: 63 (III. iii. 60) 
ravens: 29 (II. iii. 43) 



14-4 



As You Like It 



raw: 48 (III. ii. 77) 
reason: 102 (V. iv. 146) 
reason of: 9 (I. ii. 57) 
recks: 33 (II. iv. 82) 
recountments: 86 (IV. iii. 

142) 
recover'd: 86 (IV. iii. 152) 
religion: 79 (IV. i. 208) 
religious: 58 (III. ii. 366) 
relish: 54 (III. ii. 248) 
remorse: 21 (I. iii. 73) 
removed: 58 (III. ii. 364) 
render: 8 (I. ii. 22); 85 

(IV. iii. 124) 
resolve: 54 (III. ii. 247) 
reverence: 3 (I. i. 55) 
right: 76 (IV. i. 113) 
ring time: 96 (V. iii. 21) 
ripe: 84 (IV. iii. 89) 
royal: 85 (IV. iii. 119) 
roynish: 26 (II. ii. 8) 
rustically: 1 (I. i. 7) 

sad . . . maid: 53 (III. ii. 

228) 
safest haste: 19 (I. iii. 44) 
sale-work: 69 (III. v. 43) 
sanctified: 27 (II. iii. 13) 
sans: 38 (II. vii. 32) 
saw . . . judgment: 13 (I. ii. 

187) 
saws: 43 (II. vii. 156) 
scrip: 51 (III. ii. 172) 
scrippage: 51 (III. ii. 172) 
seal . . . mind: 83 (IV. iii. 

59) 
seeming: 99 (V. iv. 72) 
semblances: 22 (I. iii. 125) 
se'nnight: 57 (III. ii. 337) 
senseless: 39 (II. vii. 55) 
sententious: 99 (V. iv. 66) 
sequester'd: 24 (II. i. 33) 
set him: 60 (III. ii. 434) 
seven ages: 42 (II. vii. 143) 
seven . . . nine: 52 (III. ii. 

185) 
shall: 33 (II. iv. 89) 



shrewd: 103 (V. iv. 180) 
sight and shape: 101 (V. iv. 

127) 
simples: 73 (IV. i. 18) 
simply: 79 (IV. i. 213) 
smoke . . . smother: 18 (I. 

ii. 304) 
snake: 83 (IV. iii. 72) 
so fond: 27 (II. iii. 7) 
song: 95 (V. iii.) 
south: 69 (III. v. 50) 
span: 50 (III. ii. 140) 
spare: 46 (III. ii. 20) 
sphere: 46 (III. ii. 3) 
spheres: 37 (II. vii. 6) 
spleen: 80 (IV. i. 224) 
sport: 11 (I. ii. 108) 
sports: 8 (I. ii. 27) 
squandering: 39 (II. vii. 57) 
stagger: 63 (III. iii. 51) 
stalking-horse: 101 (V. iv. 

112) 
stand to it: 10 (I. ii. 71) 
stanzo: 34 (II. v. 18) 
states: 103 (V. iv. 182) 
stay: 53 (III. ii. 222) 
stay'd: 20 (I. iii. 70) 
stays: 1 (I. i. 8) 
sticks . . . heart: 16 (I. ii. 

259) 
still: 15 (I. ii. 243); 101 

(V. iv.) 
sting: 39 (II. vii. 66) 
straight: 26 (II. i. 69) 
strikes . . . room: 62 (III. 

iii. 14) 
study: 93 (V. ii. 86) 
style: 24 (II. i. 20) 
suddenly: 27 (II. ii. 19) 
suit: 14 (I. ii. 195); 22 (I. 

iii. 119) 
suits: 40 (II. vii. 81) 
suits . . . fortune: 16 (I. ii. 

263) 
sure: 68 (III. v. 11) 
sure together: 102 (V. iv. 

142) 



As You Like It 



145 



swam . . . gondola: 74 (IV. 

i. 40) 
swashing: 22 (I. iii. 123) 
swift: 99 (V. iv. 65) 
swound: 68 (III. v. 17) 

ta'en up: 99 (V. iv. 50) 
taller: 17 (I. ii. 289) 
tangle: 69 (III. v. 44) 
taste: 49 (III. ii. 107) 
tax: 39 (II. vii. 71) 
taxation: 10 (I. ii. 92) 
tears: 25 (II. i. 38) 
tender: 93 (V. ii. 78) 
term: 57 (III. ii. 354) 
that: 12 (I. ii. 137); 21 (I. 

iii. 74) 
them: 13 (I. ii. 179) 
thereby . . . tale: 38 (II. vii. 

28) 
there's . . . goes: 77 (IV. i. 

145) 
though . . . magician: 93 (V. 

ii. 79) 
thought: 80 (IV. i. 224) 
thrasonical: 91 (V. ii. 35) 
threw . . . aside: 85 (IV. iii. 

104) 
thrice-crowned: 46 (III. ii. 

2) 
thrifty . . . sav'd: 28 (II. 

iii. 39) 
thy wound: 31 (II. iv. 43) 
thy youth and kind: 83 (IV. 

iii. 60) 
time try: 79 (IV. i. 211) 
toad: 24 (II. i. 13) 
together: 69 (III. v. 64) 
touches: 51 (III. ii. 161) 
toward: 98 (V. iv. 35) 
toy: 64 (III. iii. 82) 
translate: 90 (V. i. 59) 
traverse: 66 (III. iv. 43) 
Troilus: 76 (IV. i. 100) 
trow: 52 (III. ii. 190) 
truth . . . contents: 102 (V. 

iv. 137) 



tuft: 70 (III. v. 75) 

Turk to Christian: 82 (IV. 

iii. 34) 
turn: 34 (II. v. 3); 45 (III. 

i. 7) 
turning . . . out of service: 

19 (I. iii. 26) 

umber: 22 (I. iii. 115) 
unbanded: 59 (III. ii. 404) 
underhand: 6 (I. i. 148) 
undone three tailors: 98 (V. 

iv. 47) 
unexpressive: 46 (III. ii. 

10) 
ungartered ... untied: 59 

(III. ii. 403) 
unhandsome: 105 (Epil. 2) 
unlink'd: 85 (IV. iii. 113) 
unquestionable: 59 (III. ii. 

399) 
unto: 16 (I. ii. 255) 
untreasur'd: 26 (II. ii. 7) 
untuneable: 96 (V. iii. 38) 
upon command: 41 (II. vii. 

125) 
upon report: 33 (II. iv. 98) 
urg'd: 97 (V. iv. 5) 
urg'd conference: 17 (I. ii. 

275) 
use: 28 (II. iii. 23) 

vein: 40 (II. vii. 94) 
velvet: 25 (II. i. 50) 
venerable burden: 43 (II. 

vii. 167) 
vengeance: 83 (IV. iii. 49) 
vents: 38 (II. vii. 41) 
videlicet: 76 (IV. i. 100) 
villain: 3 (I. i. 60) 
virtuous: 21 (I. iii. 84) 

wags: 38 (II. vii. 23) 
wanting: 41 (II. vii. 126) 
ware: 32 (II. iv. 57) 
warp: 44 (II. vii. 187) 
waste: 33 (II. iv. 96) 



146 



As You Like It 



wasteful: 57 (III. ii. 344) 
wear: 38 (II. vii. 34) 
wearing: 31 (II. iv. 38) 
weary very: 39 (II. vii. 73) 
we . . . flouting: 88 (V. i. 

13) 
well breathed: 15 (I. ii. 234) 
what: 33 (II. iv. 89) 
where you are: 91 (V. ii. 

33) 
wherein . . . guilty: 14 (I. 

ii. 198) 
wherein went he: 54 (III. 

ii. 235) 
which: 12 (I. ii. 135) 
why . . . not: 19 (I. iii. 38) 
wind away: 65 (III. iii. 109) 
wine . . . bush: 105 (Epil. 4) 
winter's sisterhood: 66 (III. 

iv. 16) 



wishes: 94 (V. ii. 102) 
'wit . . . wilt': 78 (IV. i. 

174) 
with measure: 104 (V. iv. 

186) 
withal: 6 (I. i. 141); 51 

(III. ii. 166) 
woman of the world: 95 (V. 

iii. 5) 
working: 14 (I. ii. 218) 
worldlings: 25 (II. i. 48) 
worms-meat: 48 (III. ii. 68) 
wrath: 92 (V. ii. 45) 

yet . . . not: 71 (III. v. 93) 

young: 3 (I. i. 58) 

your chestnut: 65 (III. iv. 

11) 
youthful: 29 (II. iii. 67) 



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